There's an interesting related point to that, that you can't as such put your finger on when crossing the bridge, but it's the fact that the kiosks block you views as you cross the river, whether it be in a car or on foot; there's no real sense of crossing the Liffey from one side to the other, the very
point that the O'Connell Street IAP highlights about O'Connell Bridge, the very point - and yet the CC seek to ignore this issue that is pointed out in one of their own documents in the case of Grattan Bridge.
Very much so a case as Garethace has highlighted, of the CC putting the effort into 'flagship' projects but ignoring the fundamentals in the average space in the city. O'Connell is worthy as part of a grandiose scheme, but Grattan is not.
In the 'before' pictures Devin posted previously , it is without doubt the broad flat expanse of Grattan Bridge that is of greatest appeal, with sweeping views of the quays on both sides, and the delightful seahorses framing the views whilst simultaenously marking the river crossing by marching along on both
sides, acting as architectural and practical beacons on the river, both day and night, as all similar lamps do on most bridges around the world - Westminster Bridge being a grand example of such.
The fridges have taken this away from the city, dividing it in two - the only bridge on the Liffey other than O'Connell that generated this effect
As for the black posts - fully agreed about the juxtapositioning, it's very successful. And the lamps are great in themselves (even if they'd remind you of larger versions of the Texaco forecourt model
) - just I think they take away from the purpose of the seahorses, relegating them to a bit of frilly Victoriana in the side, when they ought to be dominant.
To see them sticking up in the distance in the middle of the river is clumsy, and kinda smacks of 'let our modren paraphernalia handle this one lads'