
ICM Lamb Sustainability Trial: Lamb births and hogget sales
Farm liaison officer with ABP Food Group, Gavin Healy is involved in the project and explained the purpose of the research.
He said: 'As part of the trial, each flock runs a bunch of ewes with two, 5-Star rams purchased through the Sheep Ireland Multibreed Ram Sales.
'The performance of the offspring from these 5-star rams is then compared to the other lambs on the farm bred from the conventional sires.'
The aim of the project is to demonstrate the economic and environmental benefits of using 5-star rams across a range of sheep-farming systems.
To date, just over 500 lambs have been born into the trial. Each lamb will have its individual birth date, weight, health and lambing-difficulty recorded. All lambs are tagged at birth for ease of data collection.
The farm liaison officer said: 'So far, lamb birth weights have been averaging 5.5kg and 4.5kg for single and twins respectively across the farms.
'The average lamb birth weights have been the same for both the 5-star and conventional-sired lambs. All lambs born into the trial were remarkably healthy and hardy lambs that came with very little assistance required.'
Lambing is expected to draw to a close on these trial farms by the end of April and at that point, the ewes and lambs will be turned out to the mountains for Summer grazing.
A keen eye will be kept on lamb performance over the next two months until they are weighed mid-season as the ewes are down for shearing.
Following on from this, all lambs will be weighed at weaning and on a monthly basis from there to finish.
Healy said: 'Lambing is a very busy time on farms with an intense labour requirement. Weather has been on-side this year which has made it much easier for both the farmers and the animals.'
On the ABP Demo Farm in Carlow, farm manager Sean Maher gave an update on the store lamb performance.
He said: 'We are nearing the end of the store lambs with 595 lambs slaughtered to date this year with just 70 left to be drafted.
'Lambs are being drafted at approximately 51kg live weight whilst also being assessed for fat cover around the tail-head and back.
'Carcass weights have been steady at 23kg, with a ratio of 4:1 of Rs vs Us.'
'Lambs are drafted every week or second week and this has been crucial in slaughtering lambs at the desired weight, ideally not over 23kg and not sending underweight lambs either.'
'The good, dry weather has been a great help to thrive and has helped reduced waste at the feed troughs.
'Lambs have been consuming 1kg/head/day of 14% protein hogget pellets along with access to grass and silage. As numbers dwindle, grass picks up and spring grass for the lambs is doing a service on performance'
All lambs had their bellies and tails shorn in late September which is essential in keeping them clean and allows a true weight to be recorded on the scales as they are not dragging clay and muck around with them.
The farm manager noted that lameness was an issue in the lambs this spring despite the dry conditions.
He said: 'A small amount of foot-bathing has been carried out but perhaps not enough.
'Lame sheep receive an antibiotic and foot spray. Once the final lambs are slaughtered it will be interesting to crunch the numbers and analyse performance of our ICM trial rams.'

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Irish Daily Mirror
5 days ago
- Irish Daily Mirror
Israel to pause fighting in three Gaza areas as concerns over hunger surge
The Israeli military said it would pause fighting in three populated areas of Gaza for 10 hours a day and open secure routes for aid delivery to desperate Palestinians. The steps are meant to address a surge in hunger in the territory as Israel faces a wave of international criticism over its conduct in the 21-month war. The military said it would begin a 'tactical pause' in Gaza City, Deir al-Balah and Muwasi, three areas of the territory with large populations, to 'increase the scale of humanitarian aid' entering the territory. The pause would begin every day at 10am to 8pm local time until further notice, beginning from Sunday. The military also said that it carried out aid airdrops into Gaza, which included packages of aid with flour, sugar and canned food. Food experts have warned for months of the risk of famine in Gaza, where Israel has restricted aid because it says Hamas siphons off goods to help bolster its rule. Images emerging from Gaza in recent days of emaciated children have fanned global criticism of Israel, including by close allies, who have called for an end to the war and the humanitarian catastrophe it has spawned. Israel said the new measures were taking place while it continues its offensive against Hamas in other areas. The local pause in fighting came days after ceasefire efforts between Israel and Hamas appeared to be in doubt. On Friday, Israel and the US recalled their negotiating teams, blaming Hamas, and Israel said it was considering 'alternative options' to ceasefire talks with the militant group. After ending the latest ceasefire in March, Israel cut off the entry of food, medicine, fuel and other supplies completely to Gaza for two and a half months, saying it aimed to pressure Hamas to release hostages. Under international pressure, Israel slightly eased the blockade in May. Since then, it has allowed around 4,500 trucks for the UN and other aid groups in to distribute. The average of 69 trucks a day, however, is far below the 500 to 600 trucks a day the UN says are needed for Gaza. The UN says it has been unable to distribute much of the aid because hungry crowds and gangs take most of it from its arriving trucks. As a way to divert aid delivery away from the UN, Israel has backed the US-registered Gaza Humanitarian Foundation, which in May opened four centres distributing boxes of food supplies. More than 1,000 Palestinians have been killed by Israeli forces since May while trying to get food, mostly near those new aid sites, the UN human rights office says. Israel has railed against the UN throughout the war, saying that its system allowed Hamas to steal aid, without providing evidence. The UN denies that claim and says its delivery mechanism was the best way to bring aid to Palestinians. The military said the new steps were made in co-ordination with the UN and other humanitarian groups. Much of Gaza's population, squeezed by fighting into ever tinier patches of land, now relies on aid. The war began with Hamas's attack on southern Israel on October 7 2023, when militants killed 1,200 people, mostly civilians, and took 251 hostages. Hamas still holds 50 hostages, more than half of them believed to be dead. Israel's retaliatory offensive has killed more than 59,700 Palestinians, according to Gaza's Hamas-run health ministry. Its count doesn't distinguish between militants and civilians, but the ministry says that more than half of the dead are women and children. The ministry operates under the Hamas government. The UN and other international organisations see it as the most reliable source of data on casualties. Subscribe to our newsletter for the latest news from the Irish Mirror direct to your inbox: Sign up here.


Irish Times
21-06-2025
- Irish Times
Venice Architecture Biennale 2025: Ireland presents an elegantly complex take on a richly simple idea
Can architecture save the world? Exploring the national pavilions in the Giardini of the 19th Venice Architecture Biennale , you might be forgiven for wondering why the world isn't saved already. Plant trees! Recycle building materials! Reconnect with the Earth! Make aesthetic gestures in reparation for colonialism! That's us sorted, so. In truth, a strange atmosphere hangs over the Giardini, and it is an unusual space at the best of times. The individual national pavilions speak of an era when empire still seemed (to some) like a reasonable idea, and often their architecture is a too-obvious giveaway of aspirations to certain kinds of glory. For every elegant Nordic pavilion, designed by Sverre Fehn and completed in 1962, there's an uber-neoclassical edifice screaming the will to power, Germany, Britain and the United States being cases in point. Taken as a whole, and with a couple of notable exceptions, it's a little like being in a theme park of the ironies of nationalistic pride. Architecture tends to last longer than governments, although the deleterious effects of the worst examples of both can linger far longer than one would like. This year Britain and the US have softened their edifices, with hanging strands of clay and beads for Britain, and a huge latticed timber porch for the US. READ MORE There is a certain degree of uncomfortable satire in the latter, as the presentation, entitled An Architecture of Generosity, is all about a spirit of openness and welcome that doesn't exactly chime with the actions of the current leaders of that country. One thing is for sure: the apocalypse will be Instagrammable. Germany's pavilion, Stresstest, takes on climate change with input from an extensive list of architects and artists, centring on huge wraparound digital display of hot city images, flanked by a space reflecting back your own body heat, and another shaded with cool trees. Elsewhere, some pavilions, such as those of Czechoslovakia and Yugoslavia, proclaim the names of countries that no longer exist. The Israeli pavilion is empty and dark, while the lights are on at the Russian one but no one is home. It is being used as a site for the biennale's education programmes in a much derided 'collaboration agreement' with the Russian Federation. There are some high points where the presented possibilities might bear future fruit. Canada is showing Picoplanktonics, Living Room Collective's exploration of plankton-infused building blocks that absorb and store carbon dioxide. Meanwhile, Austria offers a solution to the housing crisis, although as its curators, Michael Obrist, Sabine Pollak and Lorenzo Romito, demonstrate, the solution lies in the political will to care for people through social and structural change, rather than through nifty apartment design. Picoplanktonics at the Canadian pavilion at Venice Architecture Biennale 2025 Hungary is fun, as Márton Pintér, its curator, takes a look at all the other things trained architects end up doing instead of architecture, while also sharing narratives of the steady attrition through compromise that ultimately demolishes their utopian dreams. The main pavilion in the Giardini is closed for renovation, so the Arsenale houses the bulk of this year's curated exhibition, and bulky it is. From an arch of elephant-dung bricks to bioengineered trees, and from jaunty robots to exhaling rocks, the halls of the vast venue are abuzz, and overstuffed. It is as if Carlo Ratti, the biennale's curator, of Massachusetts Institute of Technology, just couldn't say no. Or perhaps he was high on saying yes. In either case, it just doesn't work, and the overall effect is irritating rather than enlightening. Visitors interact with the Intelligens. Natural. Artificial. Collective exhibit. Photograph: Andrea Avezzù Installation view of the Intelligens. Natural. Artificial. Collective exhibit. Photograph: Andrea Avezzù, courtesy La Biennale di Venezia 'To face a burning world, architecture must harness all the intelligence around us,' Ratti, who is an engineer as well as an architect, says. Instead we are surrounded by an impossible cacophony. Entitled 'Intelligens. Natural. Artificial. Collective' it features odes to AI and robots everywhere. One mimics the actions of visitors banging a drum. Another carves at wood alongside a pair of artists from Bhutan in national dress. AI also helpfully summarises the frequently verbose wall texts alongside each installation; it is amusing to see where even AI chokes on the jargon. Some of the most interesting and most moving pavilions, including Ireland's, are in the adjacent spaces at the Arsenale. A team from Peru explores the man-made reed islands on Lake Titicaca, where human ingenuity thrives only because it has evolved in harmony with nature. The Lebanese pavilion, The Land Remembers, is quietly devastating, as Edouard Souhaid, Shereen Doummar, Elias Tamer and Lynn Chamoun of Collective for Architecture Lebanon look at the impacts of ecocide, following the bombing of their country with white phosphorus by Israeli forces. They also explore the resilience of plants, and their capacity for healing and regrowth. Then there are the flashy projects that underline so much that is wrong with the world of architecture and design. A space-age gateway to a row of Porsche-designed water bikes by the star architect Norman Foster is all aesthetics over old ideas; similarly, the New York practice Diller Scofidio + Renfro bizarrely won a Golden Lion for its Canal Cafe. The 'cafe' is part water-purification plant, part espresso bar at a quieter end of the Arsenale; the jury's citation praised it for its 'demonstration of how the city of Venice can be a laboratory to speculate how to live on the water, while offering a contribution to the public space of Venice'. Again, the only new thing it seems to present is the aestheticisation of something that has been going on in many parts of the world for years. Admittedly, there is a slightly twisted delight in the sight of well-heeled biennale visitors lining up for the delicious frisson of drinking formerly filthy water. Gateway to Venice's Waterways by Norman Foster with Porsche. Photograph: Marco Zorzanello Nearby, one of the most moving elements of the Italian pavilion, which explores the country's relationship to the sea, is an old film of children happily and (presumably) safely swimming in Venice's canals. After all this, Ireland's pavilion, in its now regular space towards the quieter reaches of the Arsenale, comes as a welcome respite. It has been created by a team led by the Cork-based firm Cotter & Naessens , whose other projects include Dún Laoghaire's Lexicon Library, Limerick's Grainstore and some exceptionally elegant private housing that makes remarkable use of light. At Venice a timber structure encloses a circular space with a wraparound internal bench. The diameter of the space makes you want to stay, sit and talk. Inside Assembly, at the Venice Bienalle. Photograph: Cotter & Naessens Architects Assembly celebrates Ireland's citizens' assemblies, whichhave come together to debate issues from marriage equality to biodiversity loss. 'Could citizens' assemblies be realised at different scales?' the architects ask, imagining villages, cities and towns with their own social chambers, where people can meet to discuss, disagree and maybe even (whisper it) come up with something new, without resorting to cancellation, rage and online abuse? The idea is richly simple, although it is also elegantly complex in its execution. Leaning on the idea of architecture as an enabler rather than souped-up saviour, Louise Cotter points out how making civic architecture is (or, rather, should be) about making spaces to gather. 'This,' she says, 'brings it down to the level of community.' 'The need to assemble is fundamental,' Luke Naessens, who curated the pavilion with Cotter, says. 'But the right to assemble is under pressure.' The pavilion itself was put together from beech wood by Alan Meredith, two trees having fortuitously fallen in a storm at precisely the right time. It is visually completed with a carpet designed by Liam Naessens and created by Ceadogán Rugmakers . Adding a further layer, the whole thing is soundtracked by the composer David Stalling, with ambient noises, including birdsong and the sounds of the making of the pavilion itself at the exterior, and spoken word, including a poem by Michelle Delea, and voices from those who participated in citizens' assemblies inside. 'To start with, people were diffident about coming in because of the carpet,' Cotter says, 'but as it got dirty they lost their inhibitions.' It's a seemingly throwaway remark that hits at a deeper truth about the way environment can both invite and inhibit. Through their researches, the team explored places where people gather and communicate, from church choirs to cattle marts. 'Originally we had a kind of passageway with seats on either side, but that was a more hierarchical and confrontational space,' Cotter says. 'So it had to be round.' Size matters, too, as their researches demonstrated a sweet spot of distance that allows for connection and intimacy without intimidation. Stalling's composition is designed as what he describes as 'an intimate form of musical dialogue'. Together they have got it entirely right, as experience proves that this is a space in which it is lovely to linger and that, in so doing, conversations with strangers ensue. 'Thinking about assembly as a process really inflected our design,' Naessens says. 'While we were working on independent parts we would come together, and something someone else was doing might shift the direction. There's a reflexive element to it.' Architecture as Trees, Trees as Architecture at the Venice Biennale. Photograph: Marco Zorzanello The Lebanese pavilion at the Venice Architecture Biennale 2025 Their explorations continually underlined the idea of how much the human element matters. As Cotter remarks, 'buildings like cathedrals or train stations come alive when filled with people, [but] the pandemic completely inverted our sense of what a place of assembly is'. Thinking about this, and about how smartphones have added to the changes in how we meet and interact, a project such as Assembly becomes even more interesting for the quiet ideas it ignites. Many brilliant solutions to our social woes have been previously proposed in Irish pavilions past, such as the excellent Suburban to SuperRural, curated by FKL Architects in 2006; and Free Market , put together by Jeffrey Bolhuis, Jo Anne Butler, Miriam Delaney, Tara Kennedy, Laurence Lord and Orla Murphy in 2018. Each presented cogent and practical ideas, with some inspiring leaps of the imagination to spice things up. In the former, dull suburbs were re-created as biodiverse places in which people, and nature, could thrive; in the latter, the dying market towns of Ireland gained a new lease of life as remarkable places to live and work. Yet what has changed? The national pavilions at successive Venice architecture biennales are, in the main, supported by their respective governments – in Ireland by funding from Culture Ireland and the Arts Council . But do governments take notice? Then time passes and things stay the same or, as is the case with the environment, declines. What if the biennale could do something good? Imagine if we did adopt the social-housing covenants of Austria or build with carbon-dioxide-sucking bricks. 'The biennale does matter,' Naessens says. 'The process of working alongside people from Oman, Morocco – it's valuable. It's random which pavilions are next to each other in the Arsenale, but the conversations that come through are really generative, especially when we're looking at things like climate change, which are global.' As I leave the Arsenale the crowds are thinning out. A man is tipping out a melancholy version of Twinkle, Twinkle, Little Star on a steel drum, as opposite him the mimic robot has given up, and hangs forlornly in space. The queue to ask questions of an AI robot with a surreally smoothed-out face has vanished but, given my chance, I can't think of anything to say. 'Does any of this matter?' I try. 'Ahh, that is a big question,' replies the robot, and leaves it at that. The 19th Venice International Architecture Exhibition runs until November 23rd. Assembly will tour Ireland, including to Cork Midsummer Festival, in 2026


RTÉ News
13-06-2025
- RTÉ News
Is seat 11A the safest seat on a plane?
The survival of a passenger who escaped through an exit door seconds after an Air India flight crashed killing everyone else on board has prompted speculation over whether the seat he was in, seat 11A, is the safest. Aviation experts say it is not so straightforward because aircraft vary widely in seat configurations, crashes are unique and survival often hinges on a complex interplay of factors. "Each accident is different, and it is impossible to predict survivability based on seat location," said Mitchell Fox, a director at Flight Safety Foundation, a US-based nonprofit. The sole survivor, Viswash kumar Ramesh, a British national of Indian origin, said his 11A seat was near an emergency exit on the London-bound Air India Boeing 787 Dreamliner that crashed in Ahmedabad and he managed to walk out. Sitting next to an exit door might help you survive an accident, but it will always be 11A because aircraft can have dozens of different configurations. "In this particular instance, because the passenger was sitting adjacent to the emergency exit, this was obviously the safest seat on the day," said Ron Bartsch, Chairman at Sydney-based Av Law Aviation Consulting. "But it's not always 11A, it's just 11A on this configuration of the Boeing 787," he added. A 2007 Popular Mechanics study of crashes since 1971 found that passengers towards the back of the plane had better survival odds. Some experts suggest the wing section offers more stability. Sitting next to an exit door, like Mr Ramesh, gives you an opportunity to be one of the first out of the plane, although some exits do not function after a crash. The opposite side of the plane was blocked by the wall of a building it crashed into in Ahmedabad. In January of last year, a panel missing several bolts blew off the side of a Boeing 737 MAX mid-flight, creating a gaping hole and damaging the adjacent seat. Fortunately, no one was seated there at the time, and the incident resulted in no fatalities. Sitting by the aisle might offer you a speedier escape but it increases the likelihood of being hit in the head by luggage falling out of the overhead bins, which is a much more common occurrence than major crashes. Safety briefings Paying attention to the safety briefing at the start of your flight - often dismissed as routine - is likely the best way to improve your chances of survival, experts say. Disciplined compliance with cabin crew evacuation advice, including leaving bags behind, was a key factor in saving the lives of all 379 passengers and crew aboard a Japan Airlines flight in January last year. The Airbus A350 aircraft had collided with a Coast Guard plane at Tokyo's Haneda Airport, killing five of the six crewmembers on the smaller aircraft. Safety briefings typically cover critical instructions such as how to fasten your seatbelt securely, adopt the correct brace position and plan your evacuation route. A common tip is to count the number of rows between your seat and the nearest exit, which is vital knowledge if the cabin fills with smoke and visibility is low. Despite disasters such as the Air India crash, plane designs have evolved to increase the likelihood of passengers walking away from a rare plane accident, Mr Fox said. These include floor path lighting, fire detection and extinguishers, less flammable cabin materials and improved access to emergency exits. "There have been remarkable advancements in airplane cabin design that have improved the survivability of accidents on or near the ground," Mr Fox said.