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WINIFRED CARNEY MEMORIAL AT BELFAST CITY HALL

June 2, 2025 by infomatique

THE STREETS OF BELFAST
THE STREETS OF BELFAST
WINIFRED CARNEY MEMORIAL AT BELFAST CITY HALL
Loading
00:00 / 14:42

Duration: 14:42 | Recorded on June 2, 2025

PHOTOGRAPHED IN MAY 2025 USING A FUJI GFX100RF



Winifred Carney: A Lasting Tribute to a Revolutionary Life in Belfast

Belfast City Hall, a symbol of the city’s rich history, now hosts a profound act of public commemoration. In March 2024, a bronze statue honouring Maria Winifred “Winnie” Carney was unveiled on its grounds. This marked a significant moment in Belfast’s evolving narrative of historical recognition.

Winifred Carney (1887–1943) was a formidable figure in Irish history, known for her roles as a trade union secretary, women’s suffragist, socialist party member, and a key participant in the 1916 Easter Rising in Dublin. This report explores Carney’s extensive background, her multifaceted activism, and her enduring legacy. It also examines the symbolism and public recognition surrounding her statue, contextualising its placement within Belfast City Hall’s historical landscape of memorials. Finally, it details the artistic contributions of the sculptors, Ralf and Naomi Sander, who brought this important tribute to fruition.

A Symbolic Unveiling
The unveiling of Carney’s statue on International Women’s Day 2024 was a highly symbolic act. The deliberate choice of this date explicitly links her commemoration to broader themes of female achievement and gender equality. This timing amplifies the statue’s message beyond a simple historical acknowledgement, positioning it as a powerful statement on contemporary values and the ongoing struggle for women’s rights.

Furthermore, Carney’s statue, alongside that of Mary Ann McCracken, represents the first non-royals to be honoured in such fashion in the City Hall grounds. This signifies a profound evolution in Belfast’s civic identity and its approach to public memory. Historically, monuments at Belfast City Hall largely reflected narratives of imperial service, industrial prowess, and civic leadership. The inclusion of figures like Carney, a republican and socialist, marks a deliberate departure from this traditional, often exclusive, narrative. This shift indicates a conscious effort by Belfast City Council to foster a “good and harmonious environment” by embracing a more inclusive and diverse understanding of the city’s history, thereby contributing to reconciliation in a post-conflict society.

Winifred Carney: A Life of Revolutionary Activism
Winifred Carney’s life was defined by an unwavering commitment to social justice and Irish independence, evolving from her early experiences into a multifaceted revolutionary.

Early Life and Influences

Born Maria Winifred Carney on 4 December 1887 in Fisher’s Hill, Bangor, County Down, she came from a lower-middle-class Catholic family. Her early life was shaped by family challenges; her father, a Protestant commercial traveller, later left the family, compelling her mother, Sarah Cassidy, to support their seven children. The family relocated to Falls Road in Belfast, where her mother managed a small sweet shop. These early experiences, particularly her family’s economic struggles, likely fostered a deep empathy for the working class and cultivated a strong sense of independence within Carney, crucial for understanding her later commitment to socialist and trade union causes.

Carney was educated at the Christian Brothers School in Donegall Street, Belfast, where she also taught before qualifying around 1911 as a secretary and shorthand typist. This achievement was pioneering for women in Belfast at the time, providing her with a progressive career path. Her pursuit of secretarial skills was not merely a vocational choice but a pathway to economic independence and access to influential political figures like James Connolly, making it a foundational element of her activism.

In her early twenties, Carney also became involved with the Gaelic League, an organisation established in 1893 to preserve the Irish Language and a driving force behind the Gaelic Revival. Her involvement reflected a personal interest in art, literature, and music, aligning with a wider cultural movement in Irish society. This suggests a holistic vision for Irish identity that encompassed language and arts, providing a crucial ideological and emotional foundation for her later, more militant revolutionary commitments.

Suffragist, Trade Unionist, and Socialist Pioneer

Carney was a prominent suffragist, a committed trade unionist, and an active member of the socialist party, embodying a lifelong dedication to social and political activism. Her simultaneous engagement across these movements demonstrates an early understanding of intersectionality, recognising that women’s liberation, workers’ rights, and national independence were deeply interconnected. She joined the Women’s Social and Political Union (WSPU) at a time when its militants were engaged in a campaign of arson attacks against Unionist-associated properties, highlighting her willingness to embrace radical tactics for social change.

A pivotal aspect of her career was her close collaboration with James Connolly, serving as his personal and union-branch secretary. In this capacity, she typed most of his articles for the labour press, including editorials for The Workers’ Republic in early 1916, which built towards a call to arms. In 1913, Carney co-wrote the powerful Manifesto to the Linen Slaves of Belfast with Connolly. This “timely and hard-hitting” document exposed the horrific conditions of Belfast’s linen mills, where predominantly women and children worked long hours for meagre wages. The manifesto’s vivid language positions her not merely as an organiser but as a key intellectual and strategic force within the Irish labour movement, directly challenging the brutal realities of industrial capitalism.

Alongside Nell Gordon, a recruited mill worker, Carney was instrumental in keeping the Irish Transport and General Workers’ Union (ITGWU) operational during Connolly’s frequent absences from Belfast. During the great Dublin Lock-out in 1913, she and Gordon worked tirelessly to raise funds, provide practical support, and offer accommodation for locked-out workers who came to Belfast.

The Easter Rising: Aide-de-Camp to James Connolly

As a committed nationalist, Carney was one of approximately ten founding members of Cumann na mBan (League of Women) in 1914, serving as a women’s auxiliary to the Irish Volunteers. She helped establish the Belfast branch and later became its President. She also joined the Irish Citizen Army (ICA), achieving the rank of Adjutant by 1916. The ICA was notable for its progressive stance, giving women “rank and duty just as if they were men.” Her relationship with James Connolly deepened considerably; she became his close friend, confidante, and personal secretary.

A week before the Easter Rising, Connolly summoned Carney to Dublin. Having set out with the initial garrison party from Liberty Hall on Easter Monday, Carney, armed with both a typewriter and a Webley revolver, became the first woman to enter the General Post Office (GPO) during the Rising. Her dual role – armed combatant and indispensable typist/aide-de-camp – highlights her unique and multifaceted contribution. During the week of the Rising (24-29 April), she served as Connolly’s aide-de-camp and famously refused to leave his side after he was wounded. On the morning of the final day, Friday 29 April, she took dictation for his stirring address to the assembled GPO rebels. Along with Julia Grenan and Elizabeth O’Farrell, Carney was one of the last women to leave the GPO, typing out the surrender notices. Her prominent role positions her as a central, yet historically often overlooked, figure in one of modern Ireland’s foundational events.

Post-Rising Activism and Political Evolution

Following the Rising, Carney was interned and transferred to Aylesbury Prison in England. After her release, she continued to work for the ITGWU in both Belfast and Dublin. In 1917, she was chosen as the Belfast delegate to the National Convention of Cumann na mBan and elected President of the Belfast branch. In May 1917, she insisted on a feminist socialist platform as a female candidate. In 1918, Carney stood as a Sinn Féin candidate in the general election, one of only two female candidates nationwide.

However, she became disillusioned with the party and joined the Northern Ireland Labour Party in 1924. Her post-Rising trajectory reveals a consistent commitment to her core socialist and labour ideals, even as the political landscape of Ireland dramatically changed with the Anglo-Irish Treaty and Partition. As an active trade unionist, she notably sought support from both sides of the sectarian divide in Northern Ireland, demonstrating a pragmatic and principled approach to unity in a divided society.

Through her involvement in the trade union movement, she met and married a Unionist, an “unlikely bedfellow” given her firm Socialist Republican views. Carney’s personal decision to marry a Unionist offers a powerful symbolic counter-narrative to the prevailing political and sectarian polarisation of the time, making her a particularly resonant and complex figure for contemporary Belfast. Carney lived to witness the partition of Ireland, a development that James Connolly had warned would lead to a “carnival of reaction.”

Legacy and Historical Recognition

Winifred Carney died on 21 November 1943, at the age of 55, and is laid to rest in Milltown Cemetery, Belfast. Despite her pivotal roles, she was, in many ways, “written out of history.” This explicit acknowledgement highlights a systemic issue in historical commemoration, particularly concerning radical female figures. The statue, therefore, functions as an act of historical redress, correcting past omissions.

Her memory and what she stood for are now being revived through public recognition, most notably with the unveiling of her statue. Her life and activism are increasingly recognised as pioneering battles for women’s equality, inspiring “thousands of living legacies” in workplaces and communities across Belfast. Carney’s enduring legacy is actively invoked by contemporary trade unionists and activists as a symbol for ongoing struggles for social justice, workers’ rights, and a more equitable society. Her recognition, particularly at Belfast City Hall, signifies a maturation of Belfast’s civic identity, allowing for a more complex and inclusive narrative that embraces previously contested figures.

The Winifred Carney Memorial: Symbolism and Public Recognition
The statue of Winifred Carney at Belfast City Hall is more than a mere likeness; it is a powerful symbol embedded within a specific historical and civic landscape.

Context of Memorials at Belfast City Hall

The grounds of Belfast City Hall serve as a significant site of public memory, hosting numerous memorials and statues. Historically, these have predominantly commemorated figures associated with military service, industrial prowess, or civic tragedies. The existing monuments reflect a specific, historically dominant narrative of the city, primarily focused on its industrial, military, and civic achievements, largely from a male and unionist perspective.

This context underscores the groundbreaking significance of the Carney statue as a deliberate departure from this traditional, often exclusive, historical representation. The historical composition of the City Hall memorials reveals a long-standing omission of significant female figures and diverse political narratives. The introduction of Carney’s statue therefore represents a deliberate and transformative step towards a more inclusive and representative public history in Belfast, actively challenging and broadening the scope of what is deemed worthy of civic commemoration.

Unveiling and Significance on International Women’s Day

The striking bronze statue of Winifred Carney, alongside that of Mary Ann McCracken, was officially unveiled on 8 March 2024, deliberately coinciding with International Women’s Day. The statues are strategically located on the front lawn area of City Hall, positioned on either side of the statue celebrating Queen Victoria’s Diamond Jubilee in 1897. The strategic timing and deliberate placement are highly symbolic choices, amplifying the message of female empowerment and historical recognition, creating a visual dialogue between imperial history and local, diverse narratives of social and political change. These statues are historically significant as they are the first non-royal women to be honoured with permanent figures in the grounds of Belfast City Hall.

The unveiling ceremony was a comprehensive celebratory event, featuring music, poetry, performances, and a panel discussion. It was attended by key figures including Belfast Lord Mayor Councillor Ryan Murphy and sculptors Ralf and Naomi Sander. Lord Mayor Ryan Murphy articulated the council’s view that the statues provide “formal recognition… on behalf of the city” for “two of the most notable and influential women in Belfast’s history.” He highlighted that the installation marks an important step in implementing recommendations from a 2012 report aimed at creating a “good and harmonious environment” through City Hall displays. The statues are intended to “celebrate female achievement, inclusivity and the diversity of the people who have helped shape our city.”

Design and Symbolic Representation of the Sculpture

The Winifred Carney memorial is a striking bronze, life-size figurative sculpture. Its design specifically reflects Carney’s multifaceted contributions and key roles. She is depicted as a trade unionist, an adjutant in the Irish Citizen Army, and James Connolly’s personal secretary and political confidante. The statue explicitly shows her in the uniform of the Irish Citizen Army, visually connecting her to her revolutionary armed struggle.

The deliberate choice to depict Carney in her Irish Citizen Army uniform, alongside visual cues to her roles as a trade unionist and Connolly’s secretary, is crucial. This visually encapsulates the multifaceted nature of her activism, acknowledging her revolutionary armed struggle while simultaneously honouring her social and labour commitments, thus avoiding a simplistic or sanitised portrayal of her life. Ralf Sander, who led on the sculpture of Winifred Carney, expressed the aim to “capture the essence” of the women in the final pieces. This artistic decision contributes to a more complete and authentic historical representation, allowing the public to engage with the full breadth of her contributions, including those aspects that might have been historically controversial or overlooked.

The Commissioning Process

The commissioning of the Carney and McCracken statues followed a rigorous and transparent process. Plans for both statues were initially agreed upon in 2021, with the Strategic Policy and Resources Committee of Belfast City Council formally agreeing in March 2022 to advance the project to the Capital Programme. The Department for Communities provided match funding for the statue.

The artist selection process involved a multi-stage approach, culminating in the appointment of a selected artist in February 2023. A key aspect of the project involved agreeing upon and developing a clear “narrative and context” around the installation of the new pieces. This involved partnering with the Mary Ann McCracken Foundation and a “Winifred Carney subject matter expert” to ensure historical accuracy and appropriate messaging. The detailed, multi-stage commissioning process underscores the civic importance and sensitive nature of public art projects in Belfast.

The Artists: Ralf and Naomi Sander
The creation of the Winifred Carney statue was a collaborative effort by internationally acclaimed sculptor Ralf Sander and his daughter, Naomi Sander.

Ralf Sander’s Background and Style

Ralf Volker Sander, born 15 December 1963 in West Berlin, is an internationally active sculptor. He studied fine art and art history at Berlin University of the Arts. His early works primarily focused on the human body, but since 2000, he has experimented with diverse materials and media, including film. He frequently integrates the participation of entire social groups into his working process, a concept he links to Joseph Beuys’s term “Soziale Plastik” (Social Sculpture). This approach, where his work engages with and incorporates the broader social context, aligns well with the public art project at Belfast City Hall, which aims to foster a harmonious environment by reflecting the city’s diverse history. His global experience includes serving as a visiting professor at the Academy of Fine Arts in Warsaw, a Reader at the University of Ulster in Belfast, and a professor for sculpture at Seoul National University.

Naomi Sander’s Background and Contribution

Naomi Sander, Ralf’s daughter, was the lead artist on the Mary Ann McCracken sculpture, while Ralf led on Winifred Carney’s. Naomi’s background is rooted in fine art, with a Bachelor’s Degree in Fine Art (drawing and sculpture emphasis) from Otis/Parsons College of Art and Design in Los Angeles. She further pursued a Master’s Degree in Landscape Architecture from the University of Southern California, demonstrating an interest in urban development, community engagement, and natural phenomena. Her diverse background, encompassing both fine art and landscape architecture, offers a holistic approach to public space and art integration. Her emphasis on collaboration aligns with the project’s broader goals of fostering dialogue and trust in public memory.

Studio Sander & Sander Collaboration

The collaboration between Ralf and Naomi Sander as “Studio Sander & Sander” for the Belfast City Hall statues adds a unique dimension to the project. While Ralf led on the Carney sculpture and Naomi on McCracken’s, their joint effort signifies a blend of established expertise and contemporary artistic vision. Ralf Sander commented that it was a “very rewarding project to deliver” and expressed hope that they had “captured the essence of both women in the final pieces.” The father-daughter collaboration itself symbolises intergenerational dialogue, mirroring the project’s aim to connect past legacies with present and future civic identity.

Conclusion
The unveiling of the Winifred Carney statue at Belfast City Hall represents a significant milestone in the city’s ongoing journey towards a more inclusive and comprehensive understanding of its history. Carney emerges as a formidable figure whose life embodied a powerful confluence of Irish nationalism, labour activism, and women’s rights advocacy. Her pivotal role in the Easter Rising, her pioneering efforts in trade unionism, and her unwavering commitment to social justice underscore her enduring relevance.

The statue, strategically placed and unveiled on International Women’s Day, is not merely a static memorial but a dynamic symbol. It actively challenges historical omissions, broadens the traditional narrative of commemoration at City Hall, and signals Belfast’s commitment to acknowledging the diverse contributions of all its citizens, including those previously overlooked or contested. The meticulous commissioning process and the collaborative artistic vision of Ralf and Naomi Sander have culminated in a powerful bronze tribute that captures Carney’s essence, visually communicating her multifaceted legacy. This monument stands as a testament to her revolutionary spirit and serves as an educational beacon, fostering a deeper appreciation for the complex tapestry of Belfast’s past and contributing to a more harmonious civic identity for its future.


Tagged With: Belfast City Hall, civic identity, Cumann na mBan, Easter Rising, GPO, historical recognition, Infomatique, International Women's Day, Irish Citizen Army, Irish republican, James Connolly, memorial, Naomi Sander, Northern Ireland, Photonique, public art, Ralf Sander, sculpture, socialist, suffragist, trade unionist, William Murphy, Winifred Carney

I REVISITED THE GALLERY OF STARS IN MAY 2025 – THERE HAVE BEEN SOME RECENT CHANGES

June 2, 2025 by infomatique

THE STREETS OF BELFAST
THE STREETS OF BELFAST
I REVISITED THE GALLERY OF STARS IN MAY 2025 - THERE HAVE BEEN SOME RECENT CHANGES
Loading
00:00 / 16:11

Duration: 16:11 | Recorded on June 2, 2025

PHOTOGRAPHED USING A FUJI GFX100RF



The Shifting Faces of Corporation Street: An Investigation into Glen Molloy’s “Gallery of Stars”

  1. Introduction: The Evolving Canvas of Corporation Street

Belfast’s urban landscape is a dynamic canvas, with its street art serving as a vibrant, ever-changing chronicle of the city’s pulse. Among its notable public artworks, Glen Molloy’s “Gallery of Stars” on Corporation Street has captivated many since its emergence. My recent observations in late May 2025 indicated significant alterations to this installation: some portraits of celebrated figures appeared to have been removed or replaced, and at least one frame stood conspicuously empty. These changes prompt a deeper inquiry into the artwork’s history and the forces that shape its existence.

Glen Molloy, an artist sometimes referred to as the “Belfast Banksy”, is the creative force behind this series of portraits. His work, particularly in the Belfast docks area, initially appeared under a veil of anonymity, sparking public curiosity. The “Gallery of Stars” quickly became a point of interest, an open-air tribute to cultural icons. Yet, like all street art, it is inherently susceptible to the passage of time, environmental factors, and the dynamic artistic currents of the city. The very act of photographing such a gallery at different junctures, as has been done, transforms the observer into an informal archivist, capturing moments in the life of an ephemeral creation that official records might overlook. The specific mention of an empty frame in May 2025 is particularly compelling; it is not merely a substitution but a potential void, raising questions about artistic intent, an interrupted process, or plans yet to unfold. This discussion seeks to explore the origins of the “Gallery of Stars”, identify the personalities initially depicted, investigate the nature of the changes observed in May 2025, and consider the potential reasons for these alterations within the vibrant and ever-changing context of Belfast’s street art culture.

  1. Glen Molloy: The Artist Behind the “Belfast Banksy” Moniker

Understanding the evolution of the “Gallery of Stars” necessitates an understanding of its creator, Glen Molloy. His artistic path is a fascinating narrative of transition and dedication. Molloy first made his mark as a legendary DJ in East Belfast during the early 1990s, pioneering the underground music scene in Northern Ireland. However, his passion for visual art, specifically painting, predates his musical endeavours, having its roots in the graffiti scene of the 1980s. It was during this period that he developed and honed his skills with aerosol paint, a foundation that would later inform his approach to street art. In more recent years, Molloy has applied this deep knowledge of graffiti techniques to the creation of murals that now adorn various locations across Belfast. When he publicly revealed his identity in November 2016 as the artist behind the burgeoning Corporation Street paintings, he was described as an “unemployed artist”.

Molloy’s motivations for his street art are deeply connected to a desire for urban rejuvenation and the presentation of positive cultural figures. He described the Corporation Street area at the time of the gallery’s inception as “very badly run down,” and expressed a long-held ambition: “I had always looked at the wall and said I was going to something monumental on it.” This aspiration to transform neglected urban spaces underscores a belief in art’s capacity to alter perceptions and instil civic pride. His work often reflects his profound appreciation for music and the arts, frequently featuring icons such as David Bowie, the Beastie Boys, and Jack Nicholson. He has spoken of his desire for people to “see positive images of people they love or respect.” The process of creating these works was described as painstaking, often undertaken at night and involving considerable physical effort, moments of error, and self-doubt. While perhaps more characteristic of his broader body of work, one source notes that a common theme in his art can be “masks” and the way “eyes can hide and reveal ourselves and allow us to change personalities from day to day”, offering a potential lens through which to view his portraiture. Glen Molloy himself has stated that he transitioned from graffiti to pictorial murals because “a picture that speaks a thousand words seemed like a much better option compared to the thousands of words I had already written on the city walls.” He emphasises the impact art can have on the urban landscape, enjoying painting faces in “dull and neglected spaces” so that thousands can see his work daily.

The moniker “Belfast Banksy” was bestowed upon him by locals intrigued by the mysterious appearance of his paintings. Molloy himself reacted to this comparison with humility, finding it “quite funny really and flattering too.” Other accounts note that “he wouldn’t aspire out himself” to such a title. His decision to come forward in November 2016, in an interview with UTV, was a significant step, moving him from anonymity to public recognition. This journey from the more clandestine worlds of underground music and graffiti to becoming a celebrated public artist mirrors a wider societal trend: the increasing acceptance and appreciation of street art as a legitimate and valuable art form. The “Belfast Banksy” nickname, while catchy and indicative of his impact, perhaps doesn’t fully encapsulate Molloy’s distinct artistic ethos, which seems less about the anonymous, often politically charged commentary associated with Banksy, and more focused on community enhancement and the celebration of cultural figures.

Beyond Corporation Street, Molloy’s murals are visible throughout Belfast. Notable examples include a tribute to the Beastie Boys on Donegall Street, depictions of George Michael and Prince in South Belfast, and newer artwork at the Lagan Gateway Bridge. He has also been a participant in the esteemed “Hit The North” street art festival, further cementing his role in the city’s contemporary art scene. To share his work, Molloy maintains a Facebook page titled “Glen Molloy Creative”.

  1. The Inaugural “Gallery of Stars”: Portraits of 2016-2017 and the Fleeting Presence of Prince

The “Gallery of Stars” on Corporation Street began to materialise in late 2016. Reports from November of that year described paintings of famous faces “springing up on walls around the Belfast docks area,” visible from Corporation Street, over the preceding six weeks. By January 2017, a significant collection of portraits had been documented, forming the initial iteration of the gallery.

The individuals featured during this early period, a blend of musicians and actors, reflected Molloy’s interest in cultural icons. My own photographs of this installation in October 2017 consistently showed ten distinct portraits. However, early reports from November 2016 explicitly mention Prince among the initial subjects, suggesting his presence was indeed fleeting. If he was present, then the total number of individuals featured over time would have been eleven, even if only ten were visible at any given moment. This early roster included:

David Bowie (musician) – November 2016 / January 2017
Leonardo DiCaprio as Dom Cobb (from Inception) – November 2016 / January 2017
Prince (musician) – November 2016 (briefly featured, potentially replaced by early 2017)
Christopher Walken (actor) – January 2017
Adam Ant (musician) – January 2017
Harrison Ford (actor) – January 2017
Noel Gallagher (musician) – January 2017
Bruce Lee (actor/martial artist) – January 2017
Jack Nicholson (from “God Of Madness” – likely One Flew Over The Cuckoo’s Nest or The Shining) – January 2017
Billy Casper (from Kes) – January 2017
Shaun (Simon Pegg from Shaun Of The Dead) – January 2017
This selection of figures, ranging from influential musicians like David Bowie and the potentially fleeting Prince to actors known for iconic roles in both cult and classic cinema, suggests a deliberate curatorial approach, aligning with Molloy’s stated aim to depict “positive images of people they love or respect”.

Notably, the gallery demonstrated its fluid nature from very early in its existence. By January 2017, it was recorded that a panel featuring Shaun (Simon Pegg), Dom Cobb (Leonardo DiCaprio), and David Bowie had replaced a previous artwork titled “DMC’s Three Missed Calls”. This early alteration is significant, as it establishes that the “Gallery of Stars” was never intended as a static, permanent installation but rather as an evolving canvas. This precedent of change, occurring within months of the gallery’s inception, normalises the idea that further modifications would be likely over the subsequent years.

The consistent presence of ten figures in my October 2017 photographs, despite an early report mentioning Prince, strongly suggests that his portrait was indeed a very early, perhaps ephemeral, inclusion that was subsequently replaced. It’s plausible that Prince was an initial subject on Corporation Street, perhaps later repainted or replaced, or that the South Belfast piece, a distinct Glen Molloy mural commemorating both Prince and George Michael (documented in February 2017), was a separate, subsequent tribute. The fact that many lists now consist of eleven people further supports the notion that Prince was part of the original, broader collection of Molloy’s Corporation Street works, even if his presence on a given day was limited. This highlights the transient nature of street art and the challenges of documenting its precise history.

  1. An Evolving Canvas: Investigating the May 2025 Alterations

The core of the present inquiry stems from observations made in late May 2025, which indicated that Glen Molloy’s “Gallery of Stars” on Corporation Street had undergone further transformations. These changes reportedly included the removal or replacement of some previously featured portraits and the appearance of at least one empty frame.

It is important to state that, while the available research material provides extensive information on Belfast’s street art scene, including activities up to May 2025, none of the documents specifically confirm or provide visual documentation of all the precise changes to this particular Corporation Street gallery as observed at that time. Targeted searches of Glen Molloy’s social media (Glen Molloy Creative) and general street art blogs did not yield specific posts detailing all these May 2025 alterations to the “Gallery of Stars”.

However, new information has confirmed several additions to the gallery. A portrait of singer Amy Winehouse by Glen Molloy was present on Corporation Street by 29 February 2024. Alongside the Amy Winehouse portrait, a new panel featuring musician Terry Hall, also by Glen Molloy, was reportedly located next to the Winehouse piece. More recently, by July 2024, a mural of Princess Leia (Carrie Fisher) had also appeared on Corporation Street. One source attributes the Princess Leia mural, and other celebrity murals in the area including one of Harrison Ford (who was also part of the original 2017 gallery), to “talented students from the Art College”. This attribution raises questions, particularly as the style of the newer pieces may differ, and Glen Molloy is the established artist of the “Gallery of Stars” and the confirmed artist of the Amy Winehouse and Terry Hall portraits. These additions, with their varying attribution for the Princess Leia piece, predated the May 2025 general observations of other changes and the empty frame, indicating that the gallery’s evolution is an ongoing process, potentially involving both the original artist and possibly other contributors or projects.

The most significant contextual factor for understanding widespread street art changes in Belfast during May 2025 is the “Hit The North” (HTN) street art festival. This annual event, which took place over the May bank holiday weekend (1st-5th May 2025), is a major undertaking that brings numerous local and international artists to the city to create new murals. The festival’s explicit aim is to transform public spaces and rejuvenate areas, often involving the replacement of older pieces or the creation of art in new locations across the city, particularly in areas like the Cathedral Quarter but with a broader city-wide impact. As noted, “The festival may only last for a weekend, but its impact resonates the rest of the year”. The sheer scale of HTN, featuring “60 local and international artists” and aiming to “beatify hundreds of walls”, inevitably means a high turnover of street art. The Corporation Street gallery, being an established piece by a prominent local artist, would be a natural candidate for inclusion in festival-related activities, whether through Molloy himself creating new work there or the space being allocated to other artists as part of the festival’s “difficult curatorial decisions” regarding limited wall space and budget.

In the absence of direct statements from the artist about all specific May 2025 changes, plausible reasons can be inferred from the general practices within the street art world and the local Belfast context:

Artist’s Own Evolution: Molloy may have decided to update, refresh, or entirely change his own work at this location, as evidenced by the Amy Winehouse and Terry Hall additions.
Collaborative or Student Projects: The attribution of the Princess Leia mural to art college students suggests that the space may also be used for educational or collaborative art projects.
Commissioned Changes: New works might have been commissioned for the space by property owners or other entities.
Deterioration: Street murals are constantly exposed to the elements. After more than eight years (from late 2016 to May 2025), natural degradation could necessitate repair, replacement, or removal.
Festival Interventions: As discussed, the space could have been part of the “Hit The North” 2025 programme for other changes observed in May 2025. New art created for the festival often replaces existing pieces. The Paddy Duffy Collection, for instance, documents new paste-ups and murals by other artists appearing in Belfast city centre around May 2025, associated with HTN.
Urban Development/Regeneration Projects: While no specific information points to development on Corporation Street at this exact time, urban regeneration efforts can lead to mural alterations. There is precedent in Belfast for murals being repainted if deemed “detrimental to regeneration”.
The observed “empty frame” in May 2025 is particularly intriguing. It could signify:

A piece temporarily removed for repair or refreshing, similar to a documented instance where another Belfast art piece, the Miriam Daly board, was “temporarily taken down while the frame was painted”.
A space awaiting a new artwork, essentially a work in progress.
A portrait that was damaged beyond simple repair and subsequently removed.
An intentional artistic statement, though this is harder to ascertain without further context from the artist.
The lack of a specific statement from Glen Molloy (within the reviewed materials) regarding all of these particular changes means the precise reasons remain speculative. However, the intense activity surrounding the “Hit The North” festival in May 2025 provides the most compelling backdrop for some of these transformations, while the earlier appearance of the Amy Winehouse, Terry Hall, and Princess Leia portraits confirms the ongoing engagement with the site, potentially by multiple artists or groups. Changes to street art are not always accompanied by public announcements from the original artist, sometimes resulting from broader curatorial choices by festival organisers, decisions by property owners, or even unforeseen circumstances like damage.

  1. The Nature of Street Art in Belfast: A Scene in Flux

The alterations to Glen Molloy’s “Gallery of Stars” are best understood when placed within the broader context of Belfast’s dynamic street art environment. Ephemerality is a core characteristic of this art form. Murals are, by their very nature, often temporary installations, vulnerable to weathering, vandalism, being painted over to make way for new creations, or removal due to urban development. The description of murals and graffiti “blossoming out of the brick walls” in Belfast suggests a constantly regenerating artistic landscape. An artwork that has been in place for over eight years, like the “Gallery of Stars,” would naturally be a candidate for refreshment or replacement in such a fluid setting.

Festivals like “Hit The North” are significant drivers of this renewal. These events are specifically designed to introduce new art to the city, which inherently involves a turnover of existing pieces. The festival organisers themselves acknowledge making “difficult curatorial decisions” due to the high demand for space and limited resources. This curated yet constantly changing “gallery” of the street is responsive to current cultural moments and artistic energies.

Street art in Belfast also plays a crucial role in conversations about regeneration and identity. Molloy’s initial motivation to rejuvenate a “run down” area with his Corporation Street gallery aligns with this. Belfast has a long and potent history of murals, many of which were historically political in nature. Contemporary street art, including pieces like the “Gallery of Stars,” often offers a “counter narrative” to these older forms, contributing to a “shared cultural identity” and brightening the urban experience. Initiatives like the Belfast Canvas project, which transforms utility boxes with art, further illustrate the city’s commitment to using public art to “improve the look and feel of the city centre”. The city’s walls can be seen as a palimpsest, with layers of art and history continually being inscribed, erased, and re-inscribed, reflecting Belfast’s own ongoing transformation.

Finally, the artist’s prerogative is a key factor. Artists may choose to revisit, alter, or entirely remove their own work for a multitude of artistic reasons, reflecting their evolving style, new inspirations, or simply the desire to create something new in a familiar space, as seen with Glen Molloy’s additions of the Amy Winehouse and Terry Hall portraits. The appearance of murals attributed to other artists, such as the Princess Leia piece, also highlights that public art spaces can be dynamic and host the work of multiple creators over time. While a piece like the “Gallery of Stars” may become well-loved by the public, its permanence is never guaranteed. There is an inherent tension in street art between the desire for preservation of favoured works and the drive for renewal and fresh expression that keeps the scene vibrant.

  1. Conclusion: Understanding the Gallery’s Journey

Glen Molloy’s “Gallery of Stars” on Corporation Street emerged in late 2016, quickly establishing itself with a striking roster of celebrity portraits that resonated with the public. From its early days, the installation showed signs of being an evolving entity, with at least one documented instance of a panel being replaced shortly after its initial appearance. This inherent dynamism set the stage for future transformations. The strong indication that Prince was an original, albeit brief, feature means that while ten individuals might have been visible at any given time, the total number of distinct subjects over the gallery’s initial period was indeed eleven.

The confirmation of an Amy Winehouse portrait by Glen Molloy, present by February 2024, the additional information about a Terry Hall panel also by Molloy, and the appearance of a Princess Leia mural by July 2024 (attributed by one source to art college students) underscores that the gallery has been actively updated and has seen contributions from various sources. The subsequent observations from late May 2025, detailing further removed or replaced portraits and an empty frame, confirm the gallery’s continued evolution. While the specific reasons for all these particular changes are not explicitly detailed in the available information, the broader context of Belfast’s vibrant street art scene provides a strong framework for understanding these developments. The “Hit The North” street art festival, a major annual event that concluded in early May 2025, is a significant contemporaneous factor that could explain some of the changes observed in late May 2025, fostering an environment of widespread artistic renewal and transformation across the city. It is plausible that some of the changes to the “Gallery of Stars” observed are linked to this festival, whether through Molloy himself updating his work further, the space being incorporated into the festival’s broader programme, or simply as part of the natural lifecycle of street art. The empty frame, in this context, could signify a work in transition – perhaps awaiting a new piece or undergoing refurbishment, a common occurrence in the management of public art.

Glen Molloy, the “Belfast Banksy,” has made a notable contribution to the city’s visual landscape. His “Gallery of Stars” stands as an example of street art that has not only beautified an urban space but also sparked curiosity and dialogue, embodying the transient yet impactful nature of the art form. The journey of this gallery, marked by additions like the Amy Winehouse, Terry Hall, and Princess Leia portraits, the fleeting presence of Prince, and other observed changes, is a testament to how public art interacts with and reflects the pulse of a city, sometimes involving multiple artistic hands over time.

This investigation, prompted by careful observation, itself becomes a snapshot in the ongoing story of the “Gallery of Stars.” The artwork will likely continue to change, reflecting new artistic impulses and the evolving character of Belfast. Such inquiries and the public engagement they represent are vital for appreciating and understanding the rich, ephemeral tapestry of street art and its role in contemporary urban culture.


Tagged With: Belfast Banksy, Belfast street art, Corporation Street, ephemeral art, Gallery of Stars, Glen Molloy, Hit The North festival, Infomatique, Leica Q3, May 2025, Photonique, Prince mural, public art, urban art, William Murphy

IF YOU A COMMUNIST GET ORGANISED AND USE PUFFIN CROSSINGS

June 2, 2025 by infomatique

THE STREETS OF BELFAST
THE STREETS OF BELFAST
IF YOU A COMMUNIST GET ORGANISED AND USE PUFFIN CROSSINGS
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00:00 / 31:41

Duration: 31:41 | Recorded on June 2, 2025

PEDESTRIAN CROSSINGS IN BELFAST



Pedestrian Lights in Belfast: Why So Many Types of Crossings?
This report offers a comprehensive analysis of Belfast’s pedestrian crossing infrastructure. It directly addresses the public’s expressed confusion and dissatisfaction, particularly concerning Puffin crossings. Belfast’s urban environment incorporates a diverse array of pedestrian crossing types, ranging from traditional Zebra crossings to older signal-controlled Pelican crossings, and the increasingly common “intelligent” Puffin crossings.

While Puffin crossings are engineered for enhanced safety and efficiency through dynamic sensor-based operation and nearside signals, their integration has indeed contributed to user uncertainty and a varied public response. Primary concerns frequently articulated by the public include signal visibility, perceived operational ambiguity, and delays in implementation.

Despite official studies indicating improved safety outcomes when compared to older Pelican crossings, the user experience often reflects a disconnect. This report synthesises these complexities and public sentiments, concluding with actionable recommendations aimed at improving pedestrian experience and clarity within Belfast’s dynamic urban landscape.

  1. Introduction: Navigating Belfast’s Pedestrian Crossings
    1.1. Purpose and Scope of the Report

This report thoroughly investigates the current state of pedestrian crossing infrastructure in Belfast. Its primary aim is to directly address the observed confusion among pedestrians and the specific concerns regarding Puffin crossings, as articulated by the user.

The objective is to provide a clear, comprehensive understanding of the various crossing types currently in use, detailing their operational complexities, and synthesising the general public’s reaction to these different systems.

The scope of this analysis encompasses a detailed examination of the technical specifications and user rules for pedestrian crossings prevalent in Northern Ireland. It also includes an in-depth exploration of the design principles and rationale behind Puffin crossings, and a synthesis of public feedback alongside official perspectives on their implementation and overall effectiveness.

1.2. Overview of Pedestrian Infrastructure in Belfast

Belfast’s pedestrian infrastructure is a vital component of its urban mobility and safety framework. Management is overseen by the Department for Infrastructure (DfI), which holds responsibility for various aspects of traffic management, including the provision and maintenance of road signs and markings essential for pedestrian guidance.

Pedestrian safety is a paramount concern within this framework, underscored by concerning statistics. Pedestrians accounted for 20% of all Killed or Seriously Injured (KSI) casualties in Northern Ireland between 2019 and 2023. Notably, the Belfast Local Government District recorded the highest annual rate of pedestrian KSI casualties per 100,000 resident population. This data highlights the critical and ongoing necessity for effective, safe, and user-friendly crossing solutions.

The DfI’s commitment to improving urban mobility and safety is evident in its active investment in upgrading crossing facilities. Recent initiatives include a £150,000 upgrade to a Puffin crossing in Coleraine and an £80,000 investment for new Puffin crossings in Warrenpoint and Dundrum. These projects are explicitly cited for their benefits to vulnerable road users, such as children, the elderly, and individuals with disabilities. This continuous investment and the strategic introduction of advanced technologies like Puffin crossings reflect a persistent effort to enhance the safety and efficiency of pedestrian movement across the region.

However, a notable dynamic emerges when considering the Department for Infrastructure’s stated objectives for Puffin crossings and the actual experiences of pedestrians. The DfI explicitly states that Puffin crossings are designed to “make crossing the road easier and safer” and to “improve road safety for pedestrians, and in particular more vulnerable road users”. This official position is further supported by studies indicating that Puffin crossings are “safer than Pelican crossings because they involve fewer accidents”.

Yet, this objective assessment stands in contrast to the user’s direct observation: “I find the pedestrian crossings to be confusing and to add to my confusion there are now using Puffin Crossings which I dislike.” This personal experience is not unique, as public forum discussions corroborate a general sense of difficulty, with users expressing challenges in seeing signals and uncertainty about when to cross.

This divergence points to a fundamental challenge: while the objective safety metrics, such as accident reduction, may indeed demonstrate the superiority of Puffin crossings due to their intelligent design and dynamic timing, the subjective user experience is negatively impacted. This impact stems from changes in familiar elements like signal placement (nearside versus far-side) and the absence of the previously understood flashing phases.

Pedestrians have developed ingrained behaviours and expectations based on older crossing types. The transition to a system that is technologically advanced but less immediately intuitive for the human user, particularly without sufficient public re-education, leads to a perception of difficulty and confusion, even if the underlying design is statistically safer.

This highlights a critical disconnect between the technical efficacy of infrastructure design and the psychological and behavioural aspects of user adoption. Simply implementing “better” technology is insufficient if the public is not adequately informed and, crucially, re-trained on how to interact with it effectively and safely. The DfI’s current public awareness campaigns, while addressing general road safety concerns like child safety around buses, do not appear to have adequately bridged this gap for the specific nuances of Puffin crossings.

  1. A Typology of Pedestrian Crossings in Northern Ireland
    This section systematically describes the various types of pedestrian crossings found in Belfast and across Northern Ireland, outlining their distinct operational mechanisms and the associated pedestrian rules. This foundational knowledge is essential for understanding the evolution and inherent complexities of crossing infrastructure, particularly in relation to the user’s expressed experience of confusion.

2.1. Uncontrolled Crossings: Zebra Crossings

Zebra crossings are readily identifiable by their distinctive white stripes painted directly on the road surface, complemented by flashing amber beacons, known as Belisha beacons, positioned at the roadside. These crossings are termed “uncontrolled” because they do not utilise traffic lights to actively halt vehicles on a timed sequence.

Pedestrians approaching a Zebra crossing are advised to allow ample time for approaching traffic to clearly see them and come to a stop before stepping onto the road. Vehicles are legally mandated to give way to pedestrians who are already on the crossing; however, drivers are not obliged to stop until a pedestrian has actually moved onto the crossing area itself.

Pedestrians must consistently cross within the designated white stripes or between the metal studs, and it is prohibited to loiter on the crossing or to cross on the zigzag lines, as such actions can be dangerous. While the operational concept appears straightforward, potential for confusion or danger can arise if drivers fail to yield as required or if pedestrians step out without first confirming that traffic has indeed stopped.

2.2. Signal-Controlled Crossings: Pelican Crossings

Pelican crossings represent an older form of signal-controlled pedestrian crossing, activated by a pedestrian pressing a control button. They are visually distinct by their red and green pedestrian figures, which are typically positioned on the opposite side of the road from where the pedestrian is waiting.

Once activated, the traffic signals for vehicles will eventually transition to red, halting vehicular flow. Pedestrians should only commence crossing when a steady green figure is displayed, and crucially, only after verifying that all traffic has come to a complete stop.

A defining characteristic of Pelican crossings is the transitional flashing green figure. If a pedestrian has already started crossing when this flashing signal appears, it indicates that they still have sufficient time to reach the other side safely. However, new pedestrians should not begin to cross during this phase.

For drivers, this corresponds to a flashing amber light, signalling that they must give way to any pedestrians still on the crossing but are permitted to proceed if the crossing is clear. This “flashing phase,” for both pedestrians and drivers, has been identified as a source of ambiguity, potentially leading to drivers moving off prematurely or pedestrians rushing to complete their crossing. This ambiguity is a primary reason for their gradual phasing out in favour of Puffin crossings.

2.3. Traffic Light Junctions with Pedestrian Signals

Many urban junctions in Belfast are regulated by general traffic lights, which may or may not incorporate dedicated pedestrian signals. Where specific pedestrian signals are provided, pedestrians are instructed to cross only when the green figure is illuminated. Should this green figure extinguish while a pedestrian is already in the process of crossing, there should still be adequate time to reach the opposite side without undue delay.

In situations where no dedicated pedestrian signals are present, pedestrians must exercise heightened caution. They should observe the main traffic lights meticulously and only cross when the lights are red for vehicular traffic and all vehicles have come to a complete stop. It is imperative to remain vigilant for traffic that may be turning corners, even if the primary lights are red for straight-ahead movement. The complexity in such scenarios is further amplified by multi-flow traffic signals, which can permit traffic to proceed in certain lanes while other lanes are halted, necessitating an elevated level of awareness from pedestrians.

2.4. Staggered Crossings and Crossings Controlled by Authorised Persons

“Staggered” crossings refer to configurations where the crossing points on each side of a central refuge are not directly aligned, effectively creating two distinct and separate crossing segments. These can be either Pelican or Puffin type crossings. Pedestrians are required to treat each segment independently, pressing the button and waiting for a steady green figure for each part of the road before proceeding.

This design can be particularly perplexing, as pedestrians may erroneously interpret a green signal for one section as an indication that it is safe to cross the entire road, potentially leading to hazardous conflicts with traffic on the second section. This design interrupts the natural, continuous flow of pedestrian movement and can amplify the inherent ambiguity of the crossing system.

In addition to signal-controlled crossings, some intersections are managed by an authorised person, such as a police officer or a school crossing patrol. In these specific instances, pedestrians are strictly mandated to cross the road only when explicitly signalled to do so by the authorised individual and must always cross directly in front of them.

The diverse range of pedestrian crossing types in Belfast, each with its unique operational rules, signal interpretations (e.g., the presence or absence of a flashing green man), and signal placements (far-side versus nearside), imposes a significant cognitive demand on pedestrians. This is particularly challenging for visitors, like the user, or even long-term residents who may not be fully accustomed to the subtle differences between systems. The user’s expressed “confusion” directly reflects this burden.

Instead of relying on a consistent, intuitive system, pedestrians are compelled to constantly identify the specific type of crossing they are at and recall its corresponding set of rules and signal interpretations. The ongoing transition from Pelican to Puffin crossings, while aiming for long-term standardisation, actively contributes to this complexity during the interim period.

This cognitive burden, even if each individual system is designed to be “safe” when used correctly, can undermine overall pedestrian confidence and potentially lead to errors or hesitation. It highlights a tension between optimising individual crossing points for specific engineering or traffic flow requirements and maintaining a user-friendly, consistent, and predictable experience across an entire urban network. The lack of uniformity can impede smooth pedestrian flow and potentially increase the risk of misjudgements, even if accident statistics for individual crossing types show improvements.

Here’s a summary of the key features and operational differences of pedestrian crossing types in Northern Ireland:

Zebra Crossings: Marked by white stripes and flashing amber beacons (Belisha beacons) at the roadside. They do not use traffic lights. Drivers must yield to pedestrians on the crossing, but pedestrians should ensure traffic has stopped before stepping onto the road. A common challenge is driver non-compliance or pedestrians stepping out prematurely.
Pelican Crossings: Signal-controlled crossings with red and green pedestrian figures typically on the opposite side of the road. Activated by a push button, they have a fixed timing. A key feature is the flashing green figure for pedestrians (indicating time to finish crossing) and a corresponding flashing amber for drivers (yield, then proceed if clear). This flashing phase is a common source of ambiguity, leading to premature movement by both pedestrians and drivers, and is a primary reason for their phasing out.
Puffin Crossings: Intelligent crossings with red and green pedestrian figures on the nearside (same side of the road), often angled. They use intelligent sensors (Pedestrian Kerb Detector and Pedestrian Crossing Detector) to detect pedestrian presence and movement, dynamically extending the red light for slow pedestrians and cancelling requests if a pedestrian leaves. There is no flashing phase. Common challenges include nearside signal visibility issues (obscured by crowds, short height), uncertainty mid-crossing, perceived long waits, and general unfamiliarity.
Traffic Light Junctions (with pedestrian signals): Integrated with main traffic lights, often with pedestrian signals across the road. They are activated by a push button (if provided) and operate on fixed timing. While intended for coordinated junction management, pedestrians may find it difficult to see signals across busy junctions, face risks from turning traffic, and navigate multi-flow traffic complexity.
Traffic Light Junctions (without pedestrian signals): In these cases, pedestrians observe the main traffic lights and cross when vehicle lights are red and traffic has stopped. This type of crossing carries a high risk from turning traffic and can be confusing due to multi-flow traffic complexity.
Staggered Crossings (Pelican/Puffin): Consist of two separate crossing segments with a central refuge, requiring pedestrians to activate and cross each stage independently. While designed for wide roads, they can lead to misinterpretation of signals for the entire crossing and interrupt pedestrian flow.
Crossings Controlled by Authorised Persons: Managed by individuals like police officers or school crossing patrols. Pedestrians must only cross when explicitly signalled by the authorised person and directly in front of them.

  1. Puffin Crossings: Design, Technology, and Rationale
    This section provides a detailed explanation of Puffin crossings, directly addressing the user’s specific dislike and confusion by outlining their design philosophy, technological innovations, and the official reasons for their introduction and increasing prevalence in Belfast and the wider United Kingdom.

3.1. “Pedestrian User-Friendly Intelligent”: The Concept Behind Puffin Crossings

The nomenclature “Puffin” is an acronym derived from “Pedestrian User-Friendly INtelligent”. This naming convention, intentionally echoing the older “Pelican” crossings, was chosen for its memorability and its association with well-known bird species found in the UK and Ireland.

The core design philosophy underpinning Puffin crossings is to provide a more responsive and inherently safer pedestrian crossing experience through the integration of “intelligent” sensor technology. This technology enables the crossing to dynamically adapt to the real-time presence and movement of pedestrians, a significant departure from older systems that operate on fixed, pre-set timers.

Puffin crossings were initially introduced in the United Kingdom and Northern Ireland in 1992 and have progressively become the standard for new pedestrian crossing installations across the country. Since 2016, the UK Government has embarked on a strategic, gradual phase-out of Pelican crossings, with the explicit aim of replacing them with Puffins. However, the pace of adoption and implementation can vary at the local authority level. This policy shift unequivocally signifies a deliberate move towards what is officially considered a technologically superior and safer design for pedestrian crossings.

3.2. Unique Features and Operational Mechanisms (Sensors, Nearside Signals, Dynamic Timings)

Puffin crossings are distinguished by several unique features that fundamentally differentiate them from previous designs, particularly Pelican crossings:

Nearside Pedestrian Signals: A primary distinguishing feature is the placement of the red and green pedestrian signals (the “red man” and “green man”) on the same side of the road as the pedestrian, typically positioned to their right and often set diagonally to the kerb. This contrasts sharply with Pelican crossings, where the signals are traditionally located on the opposite side of the road.
The underlying rationale for this nearside placement is to empower pedestrians to simultaneously monitor both the signal indication and approaching vehicular traffic, thereby enhancing their situational awareness. Crucially, this design also aims to provide additional assistance to visually impaired individuals who may find it challenging to discern signals positioned across the carriageway.

Intelligent Sensor Technology: The “intelligent” aspect of Puffin crossings is derived from their sophisticated use of advanced sensor technology. These sensors are typically mounted on top of the traffic light poles or, in some designs, are embedded within the ground of the waiting area on the pavement. There are two primary types of sensors:

Pedestrian Kerb Detector (PKD): This sensor is designed to detect the presence of a pedestrian waiting to cross. A key function of the PKD is its ability to automatically cancel a pedestrian’s request if the pedestrian presses the button but then walks away from the crossing or crosses prematurely before the signal changes. This intelligent cancellation mechanism prevents unnecessary stopping of vehicular traffic, thereby improving overall efficiency for motorists.
Pedestrian Crossing Detector (PCD): This sensor continuously monitors pedestrians who are already on the crossing. It possesses the capability to dynamically extend the red light for vehicles if a pedestrian is moving slowly or is still occupying the crossing area. This ensures that pedestrians are afforded sufficient time to complete their crossing safely, effectively eliminating the fixed timing and flashing phases that characterise older crossing types.
Absence of Flashing Phase: Unlike Pelican crossings, Puffin crossings deliberately do not incorporate a flashing green figure for pedestrians or a flashing amber light for drivers. The pedestrian display consistently shows a static red or static green man, and the vehicle amber signal remains steady. This design choice is a conscious effort to eliminate ambiguity and prevent drivers from prematurely moving off during what was previously a transitional phase, thereby enhancing safety.

Audible and Tactile Signals: To further enhance accessibility for all users, particularly those with visual impairments, some Puffin crossings are equipped with audible signals – typically a beeping sound – that activate when the green figure is displayed, indicating it is safe to cross. Additionally, certain push-button units feature a tactile knob located underneath the unit that rotates when the green signal is active, providing a non-visual cue for safe crossing. The button box itself is often mounted at waist height, making it more accessible for individuals using wheelchairs or other mobility aids.

Dynamic Activation Logic: The pedestrian phase at a Puffin crossing is not simply activated by a button press, but rather initiates only when a specific set of three conditions is met: the pedestrian push button has been pressed since the conclusion of the last pedestrian phase, the “Maximum Traffic Green Timer” (which ensures a minimum green time for vehicles) has expired, and the detectors confirm that a pedestrian is still actively waiting to cross.

3.3. Intended Benefits and Reasons for Phasing Out Pelican Crossings

The widespread introduction and increasing adoption of Puffin crossings are underpinned by several key intended benefits, driving the policy to phase out older Pelican designs:

Enhanced Pedestrian Safety: This is cited as the primary advantage. The intelligent sensors ensure that pedestrians are allocated adequate time to cross safely, dynamically extending the crossing period if necessary. This feature is particularly beneficial for vulnerable users, including children, the elderly, and individuals with disabilities, who may require more time to traverse the roadway. The deliberate elimination of the flashing phase means drivers are held on a solid red light until the crossing is confirmed clear of pedestrians, significantly reducing the risk of premature driver movement and thus contributing to a reduction in accidents. Indeed, studies have consistently indicated that Puffin crossings are objectively safer than Pelican crossings, with fewer reported accidents.

Improved Traffic Flow and Efficiency for Drivers: The intelligent sensor system also confers benefits upon motorists. The capability to cancel a pedestrian request if the pedestrian departs from the crossing area, or to promptly revert the traffic lights to green for vehicles as soon as the crossing is clear, effectively reduces unnecessary delays for drivers. This dynamic responsiveness makes Puffin crossings “less disruptive to traffic flow” compared to older, fixed-timed systems.

Increased Accessibility: The strategic placement of nearside signals, combined with the potential for integrated audible and tactile aids, is specifically designed to render these crossings more accessible and user-friendly for visually impaired and elderly pedestrians, who may encounter difficulties with signals positioned across the road. The ergonomic design of the waist-height button box further aids accessibility for wheelchair users.

Modernisation and Standardisation: The gradual replacement of Pelican crossings with Puffins is part of a broader strategy to standardise pedestrian crossing technology across the United Kingdom. This standardisation is anticipated to foster greater consistency in road user behaviour and enhance overall safety by minimising variations in crossing operation and signal interpretation.

Despite the compelling technological advancements and stated benefits, a notable dynamic exists between the “intelligence” of Puffin crossings and the intuitive understanding of their users. Puffin crossings are explicitly designed and promoted based on their “intelligence,” derived from sophisticated sensors that dynamically manage crossing times and can even cancel requests. This intelligence is intended to optimise both pedestrian safety and vehicular traffic flow.

However, the user’s expressed “dislike” and “confusion” highlight a fundamental trade-off: the system’s “intelligence”—its internal logic and dynamic responsiveness—is not transparent or immediately intuitive to the pedestrian. Pedestrians, accustomed to the more predictable, fixed-timed systems of older crossings (such as Pelican’s flashing phase), find the Puffin’s nearside signals and adaptive timings less straightforward to interpret.

For example, the absence of a far-side signal means pedestrians lose visual confirmation of the “green man” once they have stepped onto the road, leading to a sense of uncertainty and vulnerability, even though the sensors are designed to hold traffic for their safety. The “intelligence” primarily serves the system’s efficiency and safety, rather than the immediate, intuitive understanding of the human user.

This situation underscores a critical challenge in the development of smart urban infrastructure: how to effectively balance sophisticated technological efficiency with user-friendliness and clear, immediate feedback for human operators, in this case, pedestrians. If the system’s operational logic is not easily understood, or if it deviates too significantly from established cognitive models of how crossings function, the intended benefits of “intelligence” can be undermined by user confusion, frustration, and potentially even non-compliance, such as pedestrians crossing against the light due to impatience or misunderstanding. This emphasises the paramount importance of human-centred design principles in infrastructure innovation, ensuring that technological advancements are accompanied by clear and intuitive user interfaces.

  1. Public Perception and User Experience: The Belfast Context
    This section directly addresses the user’s stated experience and the “general public reaction” to pedestrian crossings in Belfast, with a specific focus on Puffin crossings. It synthesises documented criticisms, concerns, and any reported advantages from the perspective of the pedestrian user.

4.1. Addressing User Confusion: Challenges with Puffin Crossings

The user’s explicit statement of confusion and dislike for Puffin crossings is not an isolated sentiment but is echoed in various public discussions and surveys related to Belfast’s pedestrian infrastructure. A Reddit user, for instance, articulated similar confusion, questioning the purpose of changing a system that “isn’t broke” and expressing difficulty in knowing “when to cross and when not to cross” with the new nearside signals.

Visibility Issues: A significant and frequently cited concern revolves around the visibility of the nearside pedestrian signal once a pedestrian has already commenced crossing. Users report that they are compelled to “rotate through 180°” or “look back the way I’ve come” to see the signal, an unnatural movement that diverts their attention from crucial oncoming traffic. For shorter pedestrians, the signal box itself, often installed at head height, can completely obstruct their view of the road, critically reducing their awareness of traffic conditions.

Uncertainty During Crossing: The absence of a far-side signal on Puffin crossings contributes significantly to pedestrian uncertainty once they are on the roadway. Transport for London (TfL) cited this as a key reason for its decision to discontinue Puffin installations, noting that pedestrians “dislike the uncertainty of not knowing whether the ‘green man’ is still lit once they have started crossing”. Despite the underlying sensor technology designed to hold traffic for the pedestrian’s duration on the crossing, this lack of continuous visual confirmation creates a psychological discomfort for users.

Ambiguity at Staggered Crossings: Puffin crossings, particularly when implemented as staggered designs, can be “deeply ambiguous.” Pedestrians may misinterpret a green signal for one section of the road as applying to the entire crossing, potentially leading to dangerous conflicts with traffic on the second, un-signalled section. This design choice exacerbates the inherent challenges associated with the nearside signal placement.

Obscured Signals by Crowds: In densely populated urban areas, such as Belfast city centre, the nearside pedestrian indicator can be easily obscured by crowds of waiting pedestrians. This makes it challenging for individuals to clearly discern the signal change, particularly for those positioned further back from the signal pole. This practical challenge undermines the intended clarity and accessibility of the nearside signal.

4.2. Common Criticisms and Concerns (Visibility, Ambiguity, Obstruction)

Beyond the specific issues of signal visibility and uncertainty, several other criticisms and concerns regarding Puffin crossings have emerged from public discourse:

Lack of Far-Side Signal: This remains a pervasive complaint among pedestrians. Many users report that without a signal on the opposite side of the road, they “lose touch with what the traffic is doing,” fostering a sense of vulnerability and reduced situational awareness. This design forces pedestrians to divert their gaze from oncoming traffic to check the signal, potentially causing them to miss critical vehicle movements or changes in traffic patterns.

Inconsistent or Absent Audible Signals: Some users, particularly those advocating for the visually impaired community, express significant frustration over the perceived lack of consistent audible signals, questioning how blind individuals are expected to know when it is safe to cross. While the Department for Infrastructure (DfI) states that audible signals may be included at standalone crossings, anecdotal evidence suggests inconsistency in their provision or limited operating hours due to noise concerns in residential areas. This inconsistency creates a tangible accessibility gap for a vulnerable user group.

Perceived Unnecessary Waits/Delays: Although Puffin crossings are engineered to reduce unnecessary stops for drivers by dynamically responding to pedestrian presence, some pedestrians report experiencing what they perceive as excessively long waiting times. This can lead to pedestrian non-compliance, with individuals choosing to cross against the red man signal out of impatience or a misunderstanding of the system’s operation. This indicates a potential mismatch between the system’s design intent for efficiency and the perceived efficiency from the user’s perspective.

General Confusion and Insufficient Public Awareness: Despite Puffin crossings having been introduced over three decades ago in the UK, a significant portion of the public still “don’t know the difference or how to use them” compared to older crossing types. This widespread lack of understanding points to a perceived failure in public education campaigns regarding the new technology and its distinct operational differences. Current DfI public awareness campaigns tend to focus on broader road safety issues, such as highlighting dangers for children around buses, rather than providing specific, comprehensive instruction on new crossing technologies like Puffin crossings.

4.3. Reported Advantages and Positive Feedback

Despite the criticisms and user frustrations, Puffin crossings are not universally disliked, and official reports consistently highlight their intended benefits and positive impacts:

Improved Safety Outcomes (Official View): Official studies and statements from the Department for Infrastructure (DfI) consistently assert that Puffin crossings are “safer for pedestrians” and result in “fewer accidents” compared to Pelican crossings. The dynamic timing feature, which ensures pedestrians are given adequate time to cross, is identified as a key safety advantage.

Better for Vulnerable Users: The nearside signals are specifically designed to be more easily seen and interpreted by partially-sighted pedestrians. Furthermore, the system’s ability to dynamically extend crossing time significantly benefits slower-moving individuals, such as the elderly or those with disabilities, ensuring they have ample opportunity to cross safely.

Reduced Driver Delay (Theoretical): The intelligent sensor system’s capacity to cancel a pedestrian request if the pedestrian leaves the crossing area, and to promptly turn the lights green for vehicles once the crossing is confirmed clear, is theoretically intended to reduce unnecessary delays for drivers, thereby improving traffic flow efficiency.

Modernisation and Standardisation: The gradual replacement of Pelican crossings with Puffins is part of a broader strategy to standardise pedestrian crossing technology across the United Kingdom. This standardisation is anticipated to foster greater consistency in road user behaviour and enhance overall safety by minimising variations in crossing operation and signal interpretation.

Increased Feeling of Safety (for some): A 2005 study commissioned by the Department for Transport (DfT) found that a significant majority (91%) of Puffin users “feel safe using this crossing to get across the road,” a higher percentage compared to 81% of Pelican users. The study also noted that Puffin crossings were more likely to provide “enough time to cross” (88% agreement vs. 69% for Pelicans). This suggests that while a segment of users experiences confusion, many others do perceive an overall safety benefit and appreciate the extended crossing time.

The analysis reveals a critical distinction between the objective safety performance of Puffin crossings and the subjective feeling of safety and ease of use experienced by pedestrians. Official data and studies indicate that Puffin crossings are objectively “safer than Pelican crossings because they involve fewer accidents”, and a majority of Puffin users report feeling “slightly safer overall”. However, despite these positive objective and some subjective safety findings, the user explicitly states a “dislike” for Puffin crossings and finds them “confusing.” Other public comments express feelings of vulnerability due to obscured signals and uncertainty during the act of crossing.

This disparity highlights that while Puffin’s technological features, such as sensors and the absence of a flashing phase, may indeed reduce accident probabilities, their non-intuitive design elements, particularly the nearside signals and dynamic timing, can create a sense of uncertainty, confusion, and discomfort for pedestrians. This leads to a negative user experience even if the outcome is statistically safer.

The user’s confusion and dislike stem from this cognitive dissonance – a system that is technically superior but experientially challenging. The DfT study itself noted that Puffins “confused pedestrians” despite being safer, directly confirming this gap. For urban infrastructure, achieving both objective safety and a positive subjective user experience is crucial for public acceptance and compliance.

A system that is objectively safer but subjectively confusing can lead to unintended consequences, such as pedestrians ignoring signals due to frustration or perceived inefficiency, thereby potentially undermining the very safety benefits it was designed to achieve. This underscores the need for user-centred design and effective communication strategies that bridge the gap between engineering efficacy and human psychology.

Here’s a summary of public reactions and perceived issues with Puffin crossings:

Signal Visibility Concerns: Users report that the nearside signal is often not visible while crossing, forcing unnatural head turns and diverting attention from traffic. The signal box itself can block the road view for shorter pedestrians, and signals can be easily obscured by crowds at busy junctions.
Operational Clarity Issues: There is uncertainty about the ‘green man’ status once crossing has begun due to the lack of a far-side signal. Ambiguity arises at staggered crossings, where pedestrians might misinterpret signals for the entire road. Many users express general confusion about how Puffins differ from older types, questioning “why fix what isn’t broken.”
Subjective Safety Perception: While some users report an increased feeling of safety overall and appreciate having enough time to cross, particularly for slower pedestrians, others feel vulnerable due to a loss of traffic awareness when checking the nearside signal.
Accessibility Concerns: There are complaints about the lack of consistent audible signals for visually impaired users, despite the nearside signals being intended to be better for partially-sighted individuals.
Efficiency (User Perspective): Pedestrians sometimes perceive long wait times, which can lead to non-compliance, with individuals crossing against the red signal. This contrasts with the theoretical benefit of reduced unnecessary delays for drivers.
General Sentiment: Overall, there is a reported dislike and frustration with the new system among some users.

  1. Implementation and Communication Challenges
    This section explores the practical challenges associated with the rollout of new pedestrian crossing infrastructure in Belfast, including the significant delays encountered in project delivery and the effectiveness of public awareness campaigns. This provides critical context for the user’s frustration, extending beyond just the crossing design itself to the broader governance and communication landscape.

5.1. Delays and Local Frustrations in Belfast (Case Studies)

The process of installing new Puffin crossings in Belfast and its surrounding areas has been consistently marked by significant delays, leading to considerable frustration among local councils, residents, and political representatives.

Protracted Approval Processes: A prominent illustration of these delays is the proposed Puffin crossing at Knockbreda Road in South Belfast. This project has been the subject of a “four-year long campaign” by local councillors and residents, despite an “ongoing risk of schoolchildren getting knocked down” at the location. This extended timeline highlights systemic issues within the approval and implementation phases of infrastructure projects.

Bureaucratic Hurdles and Consultations: The Department for Infrastructure (DfI) has faced accusations of “dragging their feet” and repeatedly demanding “further consultation,” even when local authorities believe sufficient public engagement has already taken place. This bureaucratic intransigence is perceived by some councillors as prioritising minor concerns, such as the potential loss of residential parking due to associated zigzag lines, over the urgent safety needs of schoolchildren. The DfI’s insistence on additional consultation, even in the face of overwhelming local support (with nearly 90% of respondents in one council consultation agreeing to the measure), suggests a highly cautious and potentially slow administrative approach to project progression.

Contractor Issues and Technical Delays: Beyond administrative hurdles, practical technical and contractual problems also contribute to delays. For instance, a Puffin crossing installed outside Anahilt Primary School in Co Down remained non-operational for an extended period after its physical installation. The lights were “sitting waiting” due to issues with the council’s contractor, including the installation of an incorrect controller unit and health and safety concerns regarding incorrectly wired power supply. Such technical and contractual issues can significantly prolong the time between the physical installation of infrastructure and its operational readiness.

Political and Community Disagreement: The Knockbreda Road case further illustrates how local political agreement can be complicated by opposition from a small minority of residents. These objections often stem from concerns such as potential increases in anti-social behaviour linked to associated projects (e.g., the reopening of a park gate) or the direct impact on residential parking availability. This highlights how localised disputes, even involving a “very very small number of individual householders”, can stall critical safety infrastructure projects, even when there is broader political consensus and a clear safety imperative.

The observed pattern of multi-year delays in the implementation of new, ostensibly safer, Puffin crossings in Belfast points to a significant underlying dynamic: the deployment of urban infrastructure is not a purely technical or safety-driven process. Instead, it is deeply embedded within a complex web of bureaucratic procedures, local political dynamics, and community engagement challenges.

The DfI’s cautious approach, manifested in persistent demands for consultation, suggests an attempt to meticulously balance diverse stakeholder interests. However, this approach inadvertently creates significant friction and delays. The fact that concerns over a “small number of individual householders” regarding parking can hold up a project deemed essential for preventing “schoolchildren getting knocked down” reveals a potential lack of streamlined decision-making or effective conflict resolution mechanisms within the planning and approval process.

These protracted delays not only exacerbate public frustration and a sense of governmental inefficiency but, more critically, they prolong existing safety risks, particularly for vulnerable populations like schoolchildren. This implies that while the DfI has a stated policy to upgrade to safer crossing technologies, the practical execution is often reactive and slow, rather than proactive and agile. This can erode public trust in the government’s ability to deliver essential services and improve urban safety in a timely manner.

5.2. Department for Infrastructure’s Role in Public Awareness and Education

The effectiveness of public awareness and education campaigns conducted by the Department for Infrastructure (DfI) plays a crucial role in fostering user adoption and overall satisfaction with new crossing technologies.

Limited Specific Education on New Crossings: While the DfI does provide general pedestrian safety advice, such as the importance of “stop, look and listen,” using designated crossings, avoiding loitering, and minimising distractions, and makes information leaflets and posters available for Puffin crossings, public feedback suggests a widespread lack of understanding regarding the specific operational differences and benefits of Puffin crossings. One Reddit user, for example, observed that “despite being around for more than 30 years, people still don’t know the difference or how to use them”. This indicates a gap between the availability of information and its widespread comprehension and retention by the public.

Focus on Broader Road Safety Campaigns: Recent DfI campaigns appear to concentrate on specific high-risk road safety issues, such as highlighting dangers for children around buses. While these campaigns are undoubtedly important for overall road safety, this focused approach suggests a more reactive strategy to specific accident trends rather than a proactive, comprehensive educational strategy for new and evolving infrastructure types like Puffin crossings. The absence of a dedicated, sustained campaign explaining the “why” and “how” of Puffin crossings contributes to public unfamiliarity.

Impact of Insufficient Education: The perceived lack of clear, consistent, and widely disseminated public information directly contributes to the user’s confusion and the general public’s difficulty in adapting to Puffin crossings. This can lead to misinterpretation of signals, frustration, and potentially unsafe pedestrian behaviour, such as crossing against the red man signal due to misunderstanding or impatience. A 2005 DfT study, for instance, noted that only one in ten Puffin users recalled any Puffin-related publicity, indicating a long-standing challenge in public awareness efforts specific to these crossings.

The prolonged transition period from older to newer crossing types, combined with what appears to be an insufficient, or at least untargeted, public education strategy specifically for the nuances of Puffin crossings, is a direct cause of ongoing user confusion and dissatisfaction. Simply making leaflets available online is not enough to ensure widespread public understanding, especially for a fundamental change in how pedestrians are expected to interact with signals.

The DfI’s focus on specific, often reactive, safety campaigns, such as bus safety, rather than a proactive, comprehensive campaign on new infrastructure types, creates a significant knowledge gap. This gap directly translates into the user’s experience of “confusion” and “dislike” of a system that is, from an engineering standpoint, designed to be safer and more efficient.

For any large-scale infrastructure change that requires a shift in daily public behaviour, a robust, sustained, and multi-channel public awareness campaign is not merely beneficial but crucial for successful adoption and the full realisation of intended benefits. Without such a campaign, the advantages of advanced technology may not be fully realised, public trust in infrastructure changes may erode, and confusion can persist for decades, ultimately hindering the overall effectiveness and perceived value of the infrastructure itself. This also implies a need for the DfI to critically evaluate the reach and impact of its current public education strategies concerning new urban mobility solutions.

  1. Conclusion and Recommendations
    6.1. Synthesis of Findings

Belfast’s pedestrian crossing infrastructure is characterised by a blend of traditional and modern designs, encompassing Zebra, Pelican, and the increasingly prevalent Puffin crossings. While Puffin crossings represent a significant technological advancement, engineered to enhance pedestrian safety and traffic efficiency through dynamic sensor-based operation and nearside signals, their introduction has clearly not been without challenges.

The user’s experience of confusion and dislike is reflective of a broader public sentiment. Key concerns frequently raised include the unintuitive nature of nearside signals, which can obscure views and create uncertainty for pedestrians mid-crossing, as well as perceived ambiguities, particularly at complex or staggered junctions.

Despite official studies indicating improved objective safety outcomes (fewer accidents) and a general feeling of safety among some users, the subjective experience of clarity and ease of use remains a significant hurdle for a notable segment of the public.

Furthermore, the implementation of new crossings in Belfast is often protracted due to bureaucratic delays, local political disputes over issues like parking, and technical difficulties, leading to considerable frustration among local authorities and residents. The Department for Infrastructure’s public awareness efforts, while providing general safety advice and specific leaflets, appear to be insufficient in comprehensively educating the public about the nuances of newer crossing technologies, thereby contributing to the persistent confusion and a disconnect between design intent and user experience.

6.2. Recommendations for Enhancing Pedestrian Experience and Clarity

To effectively address the identified complexities and public frustrations, the following recommendations are proposed:

Enhanced and Targeted Public Education Campaigns: The Department for Infrastructure (DfI) should initiate a comprehensive, sustained, and multi-channel public awareness campaign specifically dedicated to Puffin crossings. This campaign should clearly articulate the fundamental operational differences between Puffin and older Pelican crossings, with particular emphasis on the nearside signal placement, the role of dynamic timing, and the absence of flashing phases. It should utilise diverse and accessible communication methods, including animated videos, clear graphic diagrams, and public service announcements across various media platforms (television, radio, online, and social media). The campaign should also target specific user groups, such as visitors, the elderly, and visually impaired individuals, through tailored outreach and accessible formats, such as large-print signage at crossings, community workshops, and dedicated online resources with audio descriptions. Crucially, the campaign must proactively address common points of confusion highlighted by public feedback, such as the perceived lack of a far-side signal and the precise function of the intelligent sensors.

Improved On-Site Signage and Pedestrian Guidance: Existing signage at Puffin crossings should be supplemented with clearer, more prominent, and highly visible instructions, particularly at complex or staggered junctions. Consideration should be given to incorporating countdown timers on pedestrian signals, a feature preferred by some users, to provide real-time information on the remaining crossing duration. This can significantly alleviate uncertainty and improve pedestrian confidence.

Review of Signal Placement and Visibility: A comprehensive review of Puffin crossing signal placement and height should be conducted, especially in high-footfall urban areas. The objective of this review should be to mitigate issues where signals are obscured for shorter pedestrians or by large crowds. Exploration of alternative signal placements or supplementary low-level indicators could be beneficial, ensuring continuous signal visibility throughout the crossing process without requiring pedestrians to divert their gaze from oncoming traffic.

Streamlined Implementation Processes: The DfI must collaborate more effectively and transparently with local councils to streamline the approval, funding, and installation processes for new pedestrian crossings. This involves actively minimising bureaucratic delays, establishing clearer and more efficient communication channels between departments and local authorities, and developing more effective mechanisms for resolving local disputes, such as those concerning parking or anti-social behaviour, that currently impede the timely progression of critical safety projects. Prioritisation should be given to safety-critical crossings, particularly those in proximity to schools, to ensure their timely deployment and minimise ongoing risks to vulnerable populations.

Consistency in Audible/Tactile Signals: To fully support visually impaired pedestrians, the consistent provision and appropriate operation of audible and tactile signals at all Puffin crossings, particularly in urban areas, must be ensured. Innovative solutions should be explored to address concerns about noise pollution in residential areas without compromising the essential accessibility and safety benefits that these crucial aids provide.

6.3. Future Outlook for Pedestrian Infrastructure in Belfast

The ongoing transition towards Puffin crossings signifies Belfast’s commitment to modernising its pedestrian infrastructure and enhancing overall road safety. However, the ultimate success of this modernisation effort hinges not solely on the technological sophistication of the crossings but equally on effective public communication and seamless user adaptation.

As Belfast continues to evolve towards a more “active travel” friendly city, actively encouraging walking and cycling, fostering public confidence and clarity in its pedestrian infrastructure will be paramount. This requires a proactive approach that consistently prioritises user-centric design, ensuring that technological advancements are accompanied by intuitive interfaces and robust public education.

Continuous monitoring of user experience, public feedback, and accident data will be essential to refine and optimise crossing designs, ensuring they effectively and safely serve all citizens and visitors in the years to come.


Tagged With: accessible crossings, Belfast, DfI, Fuji GFX100RF, implementation delays, Infomatique, Pedestrian lights, Pelican crossings, Photonique, public education, public perception, Puffin crossings, road safety, smart technology, traffic flow, urban infrastructure, user experience, William Murphy, Zebra crossings

AFTER DARK AT LAGAN WEIR AND NEARBY

June 2, 2025 by infomatique

I USED A LEICA Q3



Exploring Belfast After Dark: A Handheld Night Photography Journey at Lagan Weir

This was my first attempt at night photography without a tripod, relying solely on my Leica Q3. I rarely use tripods or flash, and despite the challenging weather, I was keen to capture Belfast’s nocturnal beauty.

The Illuminated Canvas of Belfast’s Waterfront
As dusk settles over Belfast, the Waterfront and Lagan Weir areas undergo a remarkable transformation. The city’s urban landscape, a testament to significant regeneration, becomes a vibrant and illuminated spectacle, offering a compelling canvas for photographers. This district seamlessly blends striking modern architecture with enduring historical and industrial heritage. The strategic lighting brings these elements to life, creating a dynamic and visually rich environment.

The River Lagan, a central artery of the city, acts as a magnificent natural mirror, reflecting the myriad of urban illuminations. This interplay of artificial light, diverse architecture, and shimmering water creates a particularly mesmerising ambience, ripe for creative and impactful photographic capture.

Iconic Night-Time Vistas: Prime Photographic Locations
This section details specific landmarks and areas within the Waterfront and Lagan Weir district, highlighting their unique visual characteristics and photographic potential after dark.

Lagan Weir and Its Dynamic Bridges

The Lagan Weir, an impressive engineering feat, spans the River Lagan between the Queen Elizabeth Bridge and the M3 cross-harbour bridge. This dynamic structure, equipped with five flap gates, plays a crucial role in controlling the river’s water levels. The accompanying footbridge is an exceptional photographic subject, primarily due to its sophisticated and highly controllable RGBW (Red, Green, Blue, White) LED lighting system.

This extensive system incorporates over 500 metres of linear LEDs integrated into the handrails and along the underside of the bridge. Additionally, there are 31 in-ground frosted glass LED spots delineating the footpath, 24 RGB LED spots illuminating the piers and the water below, 47 vertical linear LEDs positioned between the handrail stanchions, 24 RGBW wall washers behind the pier house glass, and over 40 metres of linear LED bench lighting. A key feature of this illumination is that “every 7-metre section is independently controllable,” and indeed, all individual lights and benches are “individually controllable.”

This advanced, controllable lighting system allows the bridge to display a vast array of colours and dynamic lighting effects, making it an outstanding subject for long-exposure photography. Photographers can capture vibrant light trails from passing boats or vehicles on nearby bridges, as well as stunning, ever-changing reflections on the water. The footbridge itself also serves as an excellent vantage point, providing elevated perspectives for panoramic cityscapes that can encompass the illuminated weir and surrounding structures. This level of control and the dynamic nature of the lighting offer endless variations for artistic expression.

The Lagan Weir’s function as a “dynamic structure” vital for water level control and “flood protection,” combined with its aeration equipment for water quality improvement, suggests that its lighting patterns might occasionally reflect its operational status or broader environmental themes. This presents an opportunity for a photographer to explore a narrative of urban engineering and environmental regeneration through the changing lights, adding a unique, storytelling dimension to their imagery.

Waterfront’s Public Art and Architectural Gems

Beyond the major landmarks, the Waterfront area is adorned with various public art installations and architectural gems that come alive under evening lights.

The Big Fish (Salmon of Knowledge)

This impressive 10-metre-long printed ceramic mosaic sculpture, created by John Kindness, is a vibrant and unique piece of public art located prominently on the riverbank near the Lagan Weir Pedestrian and Cycle Bridge. It is explicitly mentioned as being “beautifully lit up blue and white” at night, making it a “stunning” and colourful subject. Each of its ceramic scales intricately depicts moments from Belfast’s history, offering opportunities for both wide shots and detailed close-ups that highlight its historical narrative. The mosaic surface, combined with its illumination, provides an opportunity for macro or detailed night photography, focusing on the historical narratives embedded within its scales, extending beyond just its overall form.

Custom House

Standing elegantly opposite the west end of Lagan Weir is the Custom House, a Victorian building constructed in the Italianate style by Charles Lanyon. Known for its “neoclassic architecture and fine acoustics,” it also hosts regular outdoor musical events. Its traditionally ornamental façade provides excellent photographic opportunities, particularly when illuminated at night. It can be effectively framed in compositions with the nearby Albert Memorial Clock Tower. The Custom House, with its Victorian Italianate style, offers a strong architectural contrast to the modern, often LED-lit, structures in the Waterfront area. Photographing it at night allows for highlighting this historical elegance through selective lighting, providing a counterpoint to the contemporary aesthetic and enriching the visual narrative of Belfast’s development.

Obel Tower

At 85 metres tall, the 27-storey Obel Tower stands as Ireland’s tallest storeyed building, dramatically dominating the Belfast skyline from Donegall Quay, adjacent to the River Lagan and Lagan Weir. Its imposing height and sleek modern design make it a striking vertical element in night cityscapes, with its internal and external lighting contributing significantly to the overall Belfast skyline. Its status as Ireland’s tallest building makes it an ideal subject for exploring perspective and scale in night photography. Its verticality can be emphasised through wide-angle shots looking up, or it can serve as a dramatic backdrop in panoramic cityscapes, especially when its lights reflect on the Lagan.

Queen’s Bridge & Queen Elizabeth Bridge

The Queen’s Bridge, also designed by Charles Lanyon, and the adjacent Queen Elizabeth II Bridge are vital crossings over the River Lagan. These bridges offer classic night photography opportunities for capturing dynamic light trails from passing vehicles and their vibrant reflections on the water’s surface. Views from these bridges can also serve as excellent frames for other illuminated landmarks along the waterfront. The presence of multiple illuminated bridges, especially those with traffic, provides a dynamic element for long-exposure photography, allowing for the creation of “light trails” from moving vehicles. This contrasts with static architectural shots and adds a sense of movement and urban energy to the night scene.

Belfast Barge

Moored on the River Lagan, the Belfast Barge is a unique floating museum that also functions as a live music venue. It is equipped with its own “full PA and lighting system,” making it an intriguing subject for night photography, particularly for capturing its reflections on the water. Hydrobike tours also pass by this distinctive vessel, adding another layer of dynamic light and movement to the scene. The Belfast Barge offers a unique, often overlooked, photographic subject due to its floating nature and potential for internal and external illumination. Its dual function as a museum and event venue means its lighting can vary, offering dynamic and potentially colourful displays that contrast with the static lights of surrounding buildings, and the Hydrobikes add a novel moving light element on the water.


Filed Under: Belfast, Big Fish, Bridge, Infomatique, Lagan Weir, Leica Q3, May 2025, Night Photography, Photonique, River Lagan, Sculpture, Street Photography, William Murphy Tagged With: architectural lighting, Belfast Barge, Belfast night photography, Big Fish sculpture, blue hour, Custom House, Harland & Wolff Cranes, Infomatique, Lagan Weir, Leica Q3, long exposure photography, night cityscape, Northern Ireland, Obel Tower, photographic techniques, Photonique, Queen Elizabeth Bridge, Queen's Bridge, SSE Arena, Titanic Quarter, urban landscape, water reflections, Waterfront Hall, William Murphy

REUNION OR RECONCILIATION BY JOSEFINA DE VASCONCELLOS

June 1, 2025 by infomatique

STORMONT ESTATE MAY 2025



The sculpture at Stormont, known as “Reconciliation,” is a poignant and significant artwork with a direct lineage to the renowned piece by Josefina de Vasconcellos. Its journey from conception to its current state at the Stormont Estate reflects various phases of development and adaptation.

Josefina de Vasconcellos’s ‘Reunion’ / ‘Reconciliation’

The original sculpture, by the British sculptor Josefina de Vasconcellos (1904-2005), was initially named ‘Reunion’ and unveiled in 1977 at the University of Bradford. This powerful bronze depicts two embracing figures, male and female, symbolising healing, reconciliation, and the overcoming of division. It was inspired by the suffering she witnessed during the Second World War and her deep belief in the power of forgiveness.

Copies of this profoundly moving work have been placed in several significant locations globally, most notably at the Hiroshima Peace Park in Japan (where it is known as ‘Reconciliation’) and at Salisbury Cathedral in England. The enduring message of hope and unity embedded within the sculpture has made it a potent symbol wherever it is displayed.

‘Reconciliation’ at Stormont

The sculpture at Stormont was commissioned by the Northern Ireland Office and is a replica of de Vasconcellos’s original work, sharing its powerful message in a context deeply resonant with its themes. It was intended to symbolise the ongoing peace process and the journey towards reconciliation in Northern Ireland.

When I photographed the site a few years ago it was as a work in progress with an incomplete water feature. The original design for the setting of the “Reconciliation” sculpture at Stormont envisioned it as the centrepiece of a contemplative space that included a significant water element. Water often symbolises cleansing, renewal, and a flow towards the future, making it a fitting complement to the sculpture’s message. However, the implementation of complex public art installations can be subject to various challenges, including funding, technical issues, and unforeseen delays. This often leads to phases where work appears to be suspended or incomplete.

My recent observation in May 2025, noting the completion of the site but the removal of the water element, points to a significant change in the final execution of the project. While the exact reasons for the removal of the water feature are not widely publicised, it is not uncommon for design elements in public spaces to be altered or omitted due to:

Maintenance considerations: Water features, while visually appealing, can be costly and challenging to maintain, requiring regular cleaning, filtration, and winterisation to prevent damage.

Operational issues: Problems with the pumping system, leaks, or even concerns about water safety or accessibility could lead to a redesign.

Budgetary constraints: The long-term costs associated with water features can sometimes exceed initial estimates.

Safety concerns: In some public spaces, water features can present slip hazards or other safety issues that lead to their removal or modification.

Design evolution: As a project progresses, the overall aesthetic or functional goals might evolve, leading to a decision that the water element no longer serves the intended purpose or detracts from the primary artwork.

Despite the change in its immediate surroundings, the “Reconciliation” sculpture at Stormont continues to stand as a powerful symbol of hope and the ongoing commitment to peace in Northern Ireland, drawing its profound meaning from Josefina de Vasconcellos’s original vision.


Filed Under: Belfast, Infomatique, Josefina de Vasconcellos, May 2025, Photonique, Reconciliation, Reunion, Sculpture, Stormont Estate, Street Photography, William Murphy Tagged With: design changes, Fuji GFX100RF, Infomatique, Josefina de Vasconcellos, Northern Ireland, peace process, Photonique, public art, Reconciliation, Reunion, sculpture, Stormont, water feature, William Murphy

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