All posts by Christopher Tipping

I am an experienced Artist working in Public Realm, Urban Regeneration and Healthcare environments for Local Authorities, NHS Trusts and the Private Sector. I am a graduate of the Royal College of Art - I work within diverse, multi-disciplinary project teams delivering major Capital Projects as well as smaller schemes funded entirely from charitable donations. I have delivered projects in sensitive Healthcare environments such as Mental Health, Chemotherapy and Cancer working and liaising directly with all service users and clinical staff. I offer clients multi-disciplinary skills ranging from contextual research to working with a diverse materials palette and have a broad knowledge of current practice in the built environment. I propose to influence design processes and outcomes from the outset via contextual, site-specific research and collaborative consultation. My work focuses on place & identity, with particular emphasis on local vernacular and how this is preserved, exposed & expressed as a visual narrative, telling stories about context and place. I am fascinated by the natural and man-made world. Geology, botany, species diversity, archaeology and astronomy: a continual enlightenment and am equally inspired by our collective human achievement in language, music, architecture - including our communities and the way we navigate & use our man-made space. I would hope to contribute positively to your projects by bringing the minutiae of nature and human existence into focus and to reinterpret this on a larger, more visible scale, affirming the natural and human in what can sometimes be unnatural, de-humanised public spaces. Christopher Tipping

Blog, Central Chelmsford, Public Art, Public Realm

Central Chelmsford – Large Platform Seat

November 25, 2014 Christopher Tipping Leave a comment

25th November 2014

More images in today from Hardscape detailing the manufacture of the large platform seat for Central Chelmsford.

Vinyl plotted with the design is applied to the granite slab before sandblasting.

AS the process continues, the vinyl is stripped away to reveal areas to be sandblasted.

The process is a skilled & precise one for Vlad to undertake. The slabs cannot be moved easily, so he has to move around the work.

The sandblast is no more than 2mm deep across the slab. The fine honed finish on the surface will be retained under the vinyl which still covers the letters.

Sandblasted granite seat by Christopher Tipping & Hardscape for Central Chelmsford. Image: Hardscape — The fine work is excellent. All the vinyl stencil which has been plotted and cut has to be weeded out by hand for sandblasting.

The four granite slabs which make up the large platform seat awaiting more sandblasting outside.

Granite slabs completed. When wet the granite will become almost uniformly dark. As the surface dries, the images and text will begin to reveal themselves. The areas with no sandblasting or shallow detail will dry out first.

Education, Public Art, Public Realm, Station Quarter North, Southampton

Southampton Station Quarter North – Historic Images

November 25, 2014 Christopher Tipping 1 Comment

HISTORIC IMAGES RESEARCH –

In researching this project I have engaged with many individuals, institutions and stakeholders in order to decipher the history of our site. I am immensely grateful to all those who contributed.

The purpose of taking this approach to research is twofold.

Firstly it fosters a sense of common ownership around the project. People have given their information and experience freely in order to see these improvement be made.

Secondly, the collaborative exchange of information has enriched the debate around the design outcomes, This can only be a positive step forward. The project now on the ground is all the better for this.

Thanks to all who have contributed thus far. The following is not an exclusive list – & I am adding to it all the time !

Ingrid Peckham, HER – Historical Environment Records Office – Southampton City Council

David Hollingworth, Local Studies & Maritime Collection – Southampton City Council

Sue Hill & Joanne Smith, City Archives, Southampton City Council

Jez Gale, Archivist, Southampton Daily Echo

Bert Moody – Local Railways and Docks Historian / Author (Mr Southampton !)

Dave Marden – Local Docks & Shipping Historian and Author

John Alsop – Railways Historian

John Silman – HIAS – Hampshire Industrial Archaeological Society

Denis Hale, Mayflower Theatre

Hampshire Archives & Local Studies

FoSJP – Friends of St James Park

The following set of images – all credited – have been used to inform and influence the design process. They formed a brilliant & illuminating part of the contextual research, which has influenced the design process throughout the project – & which is quite frankly – ongoing …the research never stops !

'The Walls of Southampton' an engraving by WH Bartlett 1809 - 1854. The work was made as an illustration for the book 'The Ports, Harbours, Watering Places and Coast Scenery of Great Britain'. 1842, by William Finden, Edward Francis Finden & William Henry Bartlett — ‘The Walls of Southampton’ an engraving by WH Bartlett 1809 – 1854. The work was made as an illustration for the book ‘The Ports, Harbours, Watering Places and Coast Scenery of Great Britain’. 1842, by William Finden, Edward Francis Finden & William Henry Bartlett

Sailing near the walls of Southampton and the West Quay area on a stormy day in late Victorian times. The embayment (West Bay) is an old meander of the River Test, flooded by the rising sea levels of the Holocene (current epoch) following the last ice age. This image is a wide angle view from near the present site of Southampton Central Station and looks out towards Town Quay – the site of the West Quay Shopping Centre & John Lewis. Ian West & Tonya West 2008

The image ties in wonderfully well with a description of a great storm in West Bay in 1893

An extract from the Parish of St Peters Church, Commercial Road. Magazine No 5 January 1894 by Rev H C Percival

“We have had our share of the late terrific storm, as well as much of the sunshine of Christmas. It is not often that St Peters Parish and people see the usually placid Southampton water assume the appearance of the Bay of Biscay. But on Tuesday the 12^th December (1893), we actually had a wreck on the shore in this parish and waves did much damage along the Western Shore. Our Church too suffered much more damage than is generally known. When the gale was at its height, about 3pm, some slates were carried a distance of about 3o yards and hurled with terrific force through one of the small stained windows of the Chancel. The iron guard outside was beat like thin wire and the lead & glass of the window were driven in and the window was smashed into thousands of fragments…one of our beautiful churchyard evergreen Oaks has been sadly damaged and now presents a very one sided appearance. In front of our school, slates were sticking in the ground, as though some giant from the opposite side of Commercial Road had been playing quoits all the afternoon”.

This view of around 1810 looking out over West Bay towards the City walls is thought to be almost on the site of the present day Costa Coffee shop opposite the Station Main Entrance. Image: Collection of John Silman — This view of around 1810 looking out over West Bay towards the City walls is thought to be almost on the site of the present day Costa Coffee shop opposite the Station Main Entrance. **Image: Collection of John Silman**

A view east towards the city with St Peters Church in the background. This drawing by Philip Brannon shows the shoreline around Blechynden at some point soon after the coming of the railway in 1847. The image was accompanied by the words..."a stroll along the beach was enhanced by a glimpse of a steam engine, where the line passed close to the shore". St Peters Church on Commercial Rd was completed in 1842. Image by permission of Southampton City Council Local Studies and Maritime Collection. — A view east towards the city with St Peters Church in the background. This drawing by Philip Brannon shows the shoreline around Blechynden at some point soon after the coming of the railway in 1847. The image was accompanied by the words…”a stroll along the beach was enhanced by a glimpse of a steam engine, where the line passed close to the shore”. St Peters Church on Commercial Rd was completed in 1842. **Image by permission of Southampton City Council Local Studies and Maritime Collection.**

A reference to Blechynden before the coming of the railways. Newspaper cutting image by permission of Southampton City Council Local Studies and Maritime Collection — A reference to Blechynden before the coming of the railways. **Newspaper cutting image by permission of Southampton City Council Local Studies and Maritime Collection**

A reference to the area known as Blechynden before the coming of the railways. Newspaper cutting image by permission of Southampton City Council Local Studies and Maritime Collection — A reference to the area known as Blechynden before the coming of the railways. **Newspaper cutting image by permission of Southampton City Council Local Studies and Maritime Collection**

A view towards Millbrook from the bridge over the railway tunnel dated around 1880. The original Blechynden or West Station in Southampton can be seen on the right. Image: Bert Moody Collection / Cope Collection — A view towards Millbrook from the bridge over the railway tunnel dated around 1880. The original Blechynden or West Station in Southampton can be seen on the right. **Image: Bert Moody Collection / Cope Collection**

This image of the down side of the track during high tide in 1890 shows just how close the train passed to the shoreline and the waters edge. Weymouth Terrace can be seen in the background. The footbridge is still in use today ! Image: Bert Moody Collection. — This image of the down side of the track during high tide in 1890 shows just how close the train passed to the shoreline and the waters edge. Weymouth Terrace can be seen in the background. The footbridge is still in use today ! **Image: Bert Moody Collection.**

This was the new Southampton West Station opened on 1st November 1895. It had an 82 foot clock tower & had been built upon nursery gardens. Image: Bert Moody Collection — This was the new Southampton West Station opened on 1st November 1895. It had an 82 foot clock tower & had been built upon nursery gardens. **Image: Bert Moody Collection**

‘In the 1890’s Southampton Corporation sold an area of land for the construction of the new station. The land involved was partly field & partly shoreline and was therefore subject to tidal flooding’. ‘The new station was opened on 1st November 1895. The clock tower had been a landmark long before the Civic Centre was built in 1931. It was damaged by bombing in WWII and finally demolished to make way for the new station and Overline House in 1966/67.

This image of the old station south side - down side - is now adjacent to the A3024 Western Esplanade road. It was once next to the water's edge. The sea wall is in the foreground. Date unknown - post 1895 - Image: Bert Moody Collection. — This image of the old station south side – down side – is now adjacent to the A3024 Western Esplanade road. It was once next to the water’s edge. The sea wall is in the foreground. Date unknown – post 1895 – **Image: Bert Moody Collection.**

Looking from Town Quay across West Bay towards Blechynden circa 1890's / 1900. Image by kind permission of Southampton Daily Echo — Looking from Town Quay across West Bay towards Blechynden circa 1890’s / 1900. **Image by kind permission of Southampton Daily Echo**

West Bay, Southampton, taken from the city walls between 1895 - 1912 looking towards Blechynden. St Peter's Church can be see on the horizon. The waters edge is clearly defined by coping stone and paving detail. Image by kind permission of the Southampton Daily Echo. — West Bay, Southampton, taken from the city walls between 1895 – 1912 looking towards Blechynden. St Peter’s Church can be see on the horizon. The waters edge is clearly defined by coping stone and paving detail. **Image by kind permission of the Southampton Daily Echo.**

This post-1910 image taken from Weymouth Terrace, looks towards Blechynden with the station clocktower clearly visible. To the right of this is the large brick built Emperia Building of around 1905. This first housed a mineral water factory IDRIS & Co, but by 1913 the building was used by BAT, British American Tobacco. This operation closed in 1921 & the building was destroyed by bombing in 1940. Parts of the building are still clearly visible today. Image: Bert Moody Collection — This post-1910 image taken from Weymouth Terrace, looks towards Blechynden with the station clocktower clearly visible. To the right of this is the large brick built Emperia Building of around 1905. This first housed a mineral water factory IDRIS & Co, but by 1913 the building was used by BAT, British American Tobacco. This operation closed in 1921 & the building was destroyed by bombing in 1940. Parts of the building are still clearly visible today. **Image: Bert Moody Collection**

This photograph of 1909 is a view from the water's edge towards the down side line of Southampton Station. Image: John Alsop Collection — This photograph of 1909 is a view from the water’s edge towards the down side line of Southampton Station. **Image: John Alsop Collection**

This wonderfully intimate image of 1910, shows people and horses enjoying the waters edge just outside the station. Views are across West Bay to the city walls and Town Quay. Image by kind permission of Southampton Daily Echo — This wonderfully intimate image of 1910, shows people and horses enjoying the waters edge just outside the station. Views are across West Bay to the city walls and Town Quay. **Image by kind permission of Southampton Daily Echo**

Detail: This image of 1910, shows people and horses enjoying the waters edge just outside the station. Views are across West Bay to the city walls and Town Quay. Image by kind permission of Southampton Daily Echo

A cold and somewhat bleak image of Southampton West Station date unknown, but probably around 1910. To the right can just been seen the signage for the West Station Hotel on Blechynden Terrace. Image by kind permission of Southampton Daily Echo.

An Edwardian view of Southampton West Station taken between 1901 & 1910. Horse drawn carriages await passengers. Image: John Alsop Collection

A colour tinted postcard view of Southampton Station at high tide in 1905. I have added the place names . Note the tall brick chimney of the Power Station, built in 1903 & demolished in the 1970's. Image: John Alsop Collection — A colour tinted postcard view of Southampton Station at high tide in 1905. I have added the place names . Note the tall brick chimney of the Power Station, built in 1903 & demolished in the 1970’s. **Image: John Alsop Collection**

A more detailed black & white image, probably taken from the same postcard image as above - in 1905, showing the Station Concourse and environs including Emperia Buildings & the Power Station. Image: Bert Moody Collection — A more detailed black & white image, probably taken from the same postcard image as above – in 1905, showing the Station Concourse and environs including Emperia Buildings & the Power Station. **Image: Bert Moody Collection**

A Postcard image from 1911 of a Station guard or Station Master standing on the up line at Southampton Station. Image: Bert Moody Collection — A Postcard image from 1911 of a Station guard or Station Master standing on the up line at Southampton Station. **Image: Bert Moody Collection**

This image of Southampton Station south side taken from the water's edge is actually taken from a newspaper cutting, date unknown, but around the turn of the century. The steps and bridge crossing on the far right of the image are still in use today. Image: Bert Moody Collection. — This image of Southampton Station south side taken from the water’s edge is actually taken from a newspaper cutting, date unknown, but around the turn of the century. The steps and bridge crossing on the far right of the image are still in use today. **Image: Bert Moody Collection.**

Steam train passing through from 1936. The spire of St Peters Church is just visible on the left & the footbridge, still in use today to cross the tracks is on the far right. Image: Bert Moody Collection — Steam train passing through from 1936. The spire of St Peters Church is just visible on the left & the footbridge, still in use today to cross the tracks is on the far right. **Image: Bert Moody Collection**

An aerial view of Southampton Station looking down track towards Millbrook, probably taken from the Emperia Building on Blechynden Terrace in 1931. The reclamation of West Bay had already begun as you can see top left , for the expansion of the Western Docks. Image: Bert Moody Collection / Southampton Daily Echo — An aerial view of Southampton Station looking down track towards Millbrook, probably taken from the Emperia Building on Blechynden Terrace in 1931. The reclamation of West Bay had already begun as you can see top left , for the expansion of the Western Docks. **Image: Bert Moody Collection / Southampton Daily Echo**

This aerial view across West Bay looking towards Millbrook & Southampton Station, shows the extent of the reclamation works underway during the construction & expansion of the Western Docks in 1929. Image: Dave Marden Collection - Associated British Ports — This aerial view across West Bay looking towards Millbrook & Southampton Station, shows the extent of the reclamation works underway during the construction & expansion of the Western Docks in 1929. **Image: Dave Marden Collection – Associated British Ports**

This is a map & plan of proposed and future dock expansion in West Bay which occurred through the 1930's. Image: Dave Marden Collection - Associated British Ports — This is a map & plan of proposed and future dock expansion in West Bay which occurred through the 1930’s. **Image: Dave Marden Collection – Associated British Ports**

1928 saw the building of the Mayflower Theatre - known as The Empire Theatre. The Power Station of 1903 and the Lido from 1854 had begun the reclamation of land from West Bay, which was then taken to another level entirely by the docks expansion of the 1930's. Southampton Station can be see in the centre of this image. Image: SCC Local & Maritime Aerial Collection. — 1928 saw the building of the Mayflower Theatre – known as The Empire Theatre. The Power Station of 1903 and the Lido from 1854 had begun the reclamation of land from West Bay, which was then taken to another level entirely by the docks expansion of the 1930’s. Southampton Station can be see in the centre of this image. **Image: SCC Local & Maritime Aerial Collection.**

This image of 1928 from the Local & Maritime Aerial Collection of Southampton City Council, has been annotated by me to show the key buildings of our project area which is bounded by a red line. — This image of 1928 from the **Local & Maritime Aerial Collection of Southampton City Council**, has been annotated by me to show the key buildings of our project area which is bounded by a red line.

A. St Peters Church, Commercial Road. Built 1845

B. Victoria Brewery, Commercial Road founded between 1863 & 1871 by Andrew Barlow, a business man & philanthropist who died in 1904 aged 84, the richest man to be buried in Southampton Cemetery!

C. Southampton Station of 1895

D. Emperia Building – Warehouses. Built around 1905, bombed out in 1940

E. Empire Theatre – now the Mayflower, built 1928

F. Power Station, built 1903

G. Kingsbridge Grammar School on Kingsbridge Lane

H. Blechynden Terrace & the Station forecourt

Cropped & annotated image of Commercial Road, Southampton in 1965. SCC Local Studies and Maritime Aerial Collection. Commercial Rd with Wyndham Court under construction. — Cropped & annotated image of Commercial Road, Southampton in 1965. **SCC Local Studies and Maritime Aerial Collection.** Commercial Rd with Wyndham Court under construction.

Cropped image of 1967. Looking north - this images gives a perfect west to east aerial view across the project site which is outlined in red - showing the construction of Overline House & Wyndham Court, between the railway line and Commercial Rd. The Civic Centre is at the top right hand side. SCC Local Studies and Maritime Aerial Collection. — Cropped image of 1967. Looking north – this images gives a perfect west to east aerial view across the project site which is outlined in red – showing the construction of Overline House & Wyndham Court, between the railway line and Commercial Rd. The Civic Centre is at the top right hand side. **SCC Local Studies and Maritime Aerial Collection.**

Cropped Image of 1967 showing the construction of Overline House and Wyndham Court. Blechynden Terrace runs vertically through the centre of this image, with Commercial Rd at the far right. Image: SCC Local Studies & Maritime Aerial Collection. — Cropped Image of 1967 showing the construction of Overline House and Wyndham Court. Blechynden Terrace runs vertically through the centre of this image, with Commercial Rd at the far right. **Image: SCC Local Studies & Maritime Aerial Collection.**

Architects visualisation drawing for Wyndham Court, circa 1966. Image by kind permission of Southampton Daily Echo — Architects visualisation drawing for Wyndham Court, circa 1966. **Image by kind permission of Southampton Daily Echo**

Southampton Station Clocktower of 1895 during the final days of its demolition in 1966 to make way for Overline House. Image by kind permission of Southampton Daily Echo — Southampton Station Clocktower of 1895 during the final days of its demolition in 1966 to make way for Overline House. **Image by kind permission of Southampton Daily Echo**

Looking towards Southampton Station, circa 1966 - probably taken from the Mayflower Theatre. Hill Street is the road on the right hand side - the street was completely demolished & is now under Wyndham Court. Image by kind permission of Southampton Daily Echo — Looking towards Southampton Station, circa 1966 – probably taken from the Mayflower Theatre. Hill Street is the road on the right hand side – the street was completely demolished & is now under Wyndham Court. **Image by kind permission of Southampton Daily Echo**

An aerial image of the site around the Station, looking east towards the Civic Centre at top of image. The image was probably for planning purposes and shows the future phased redevelopment of the land between Commercial Road and south of the railway lines. Easy to see how much of this site was bombed out during WWII. These sites were left untouched until the mid sixties, when the site was redeveloped. Image by kind permission of Southampton Daily Echo

This image, looking east up Commercial Road, Southampton, towards the Mayflower (Gaumont) Theatre and Civic Centre, during the construction of Wyndham Court - circa 1967 / 1968. Image by kind permission of Southampton Daily Echo — This image, looking east up Commercial Road, Southampton, towards the Mayflower (Gaumont) Theatre and Civic Centre, during the construction of Wyndham Court – circa 1967 / 1968. **Image by kind permission of Southampton Daily Echo**

Blog, Central Chelmsford, Public Art, Public Realm

Central Chelmsford

November 21, 2014 Christopher Tipping Leave a comment

Friday 21st November

Hardscape have just completed sandblasting the large granite platform seat for my project at Burgess Springs, Central Chelmsford. They sent over a couple of images yesterday. Looking pretty good from here – really want to see more images !

Hard to convey to convey the size of this piece of work – each slab is approx. 1200mm x 1200mm.

I think they have done a great job – cant wait to see it installed on site.

Image: Hardscape - Large Granite Platform Seat in 4 sections, each 1200mm x 1200mm — Image: Hardscape – Large Granite Platform Seat in 4 sections, each 1200mm x 1200mm

Image: Hardscape - Large Platform Seat in 4 sections, each 1200mm x 1200mm — Image: Hardscape – Large Platform Seat in 4 sections, each 1200mm x 1200mm

Blog, Healthcare Projects, Public Art, The Whiteleaf Centre

The Whiteleaf Centre – A1 Prints

November 20, 2014 Christopher Tipping Leave a comment

20th November 2014

We have now agreed on which artworks will be delivered as A1 framed prints for the Trust Offices –

Draft Print 1 - The design was used for the Entrance Corridor glazed screen. It will be paired with Draft Print 2 — Draft Print 1 – The design was used for the Entrance Corridor glazed screen. It will be paired with Draft Print 2

Draft Print 2 - The design was used for Ward A . It will be paired with Draft Print 1 — Draft Print 2 – The design was used for Ward A . It will be paired with Draft Print 1

Draft Print 3 - Each tree design was used for the Large Meeting Room. It will be paired with Draft Print 4 — Draft Print 3 – Each tree design was used for the Large Meeting Room. It will be paired with Draft Print 4

Whiteleaf Centre, Aylesbury. Wall covering artwork drafts. Artist Christopher Tipping — Draft Print 4 – Each tree design was used in Ward Hubs B & C. Both trees will be paired with Draft Print 3

Blog, Healthcare Projects, Sketchbook, The Whiteleaf Centre

The Whiteleaf Centre

November 17, 2014 Christopher Tipping Leave a comment

I have been asked by Tom Cox, Artscape Project Manager for Oxford Heath NHS Foundation Trust, to prepare some draft artwork, based upon the designs for the Whiteleaf Hospital, which can be printed and framed for display at the Trust’s offices.

These are some of the draft images –

Draft - Street Trees 1. Image Christopher Tipping — Draft – Street Trees 1. Image Christopher Tipping

Draft artwork for Whiteleaf Centre Glazed Screens. Christopher Tipping

Whiteleaf Centre, Aylesbury. Draft artwork for glazed screens. Christopher Tipping

Blog, Central Chelmsford, Public Art, Public Realm

Central Chelmsford – Large Granite Platform Seat

November 17, 2014 Christopher Tipping Leave a comment

One of the most striking & singular elements of the interpretation project at Burgess Springs, Central Chelmsford is the large granite platform seat.

This feature is some 2.4m square & manufactured in 4 large units. The surface is being sandblasted with images and text, both inspired by the writing of Anne Knight of Chelmsford.

The granite artwork is being project managed by Nigel Hudson, Masonry Product Manager for Hardscape at their premises at Long Marston, Stratford Upon Avon. The sandblasting is being carried out by Masonry Manager, Vladimir Zonozicka. We have met several times to discuss and sample the process & the collaboration has in turn, resulted in a much more interesting peice of work.

The image shows the light coloured vinyl stencil applied to the granite surface. Some layers of sandblasting have already been achieved & these have the vinyl stripped away to reveal the sandblasted surface. The deepest blasting is no more than 2mm, but the effects can be striking, particularly when wet or in direct sunlight. Image: Hardscape — The image shows the light coloured vinyl stencil applied to the granite surface. Some layers of sandblasting have already been achieved & these have the vinyl stripped away to reveal the sandblasted surface. The deepest blasting is no more than 2mm, but the effects can be striking, particularly when wet or in direct sunlight. **Image: Hardscape**

The work is manufactured from a grey granite with a honed finish. The early artworks suggest a green colour - which was influenced by the Royal Green granite used for some paving detailing - this is not the case. Christopher Tipping for Central Chelmsford — The work is manufactured from a grey granite with a honed finish. The early artworks suggest a green colour – which was influenced by the Royal Green granite used for some paving detailing – this is not the case. **Christopher Tipping for Central Chelmsford**

Draft artwork in black & white with some text highlighted in red for the attention of the manufacturer, Hardscape. Christopher Tipping for Central Chelmsford — Draft artwork in black & white with some text highlighted in red for the attention of the manufacturer, Hardscape. **Christopher Tipping for Central Chelmsford**

Granite slab awaiting sandblasting by Hardscape. Christopher Tipping for Central Chelmsford — Granite slab awaiting sandblasting by Hardscape. **Christopher Tipping for Central Chelmsford**

The development scheme is being delivered on behalf of Genesis Housing by Denne & project managed by Bidwells.

Bicester Community Hospital, Blog, Healthcare Projects, Public Art

Bicester Community Hospital

November 17, 2014 Christopher Tipping Leave a comment

The art project is now completed on site with all the digitally printed panels installed.

I visited on Friday 14th November to review progress & the following images are taken from that visit.

External Landscape of the hospital - in progress — External Landscape of the hospital – in progress

Each of the 10 ward rooms has a variation upon a single design. This was achieved for both economy & to meet a very tight deadline.

The brief was built around the need for privacy in the rooms. Large glazed screens open up onto a landscaped courtyard. Although these spaces are being planted with trees and some small shrubs, most of the space would be turfed. Patients, staff & visitors can still see out from the windows in the knowledge that their privacy was being maintained. Opaque and transparent layers with drawn & cut out detailing were created to provide some variation & changeability in the surface.

When the sun comes out, the shadows follow.

Detail: Section of digitally printed glazing vinyl installed.

Blog, Public Art, Public Realm, Station Quarter North, Southampton

Southampton Station Quarter North

November 15, 2014 Christopher Tipping 3 Comments

Thursday 13th November 2014 saw the last black basalt slab installed on Blechynden Terrace to complete the ‘Canal Shore’ artwork installation.

Left to right – Martin Miller and Jay Geary of Balfour Beatty, who have together installed all the 205 linear metres of the kerb edge artwork – which was manufactured and inlaid with text by Hardscape – along Blechynden Terrace and the forecourt of Central Station.

These were the brilliant guys on the ground who installed the Canal Shore works - Martin Miller & Jay Geary of Balfour Beatty. Image: Wilson Massie — These were the brilliant guys on the ground who installed the Canal Shore works – Martin Miller & Jay Geary of Balfour Beatty. Image: Wilson Massie

This almost – but not quite – completes the Phase 1 works for the Southampton Station Quarter North project being delivered by Balfour Beatty Living Places for Southampton City Council. This project is one of seven ‘Very Important Projects’ (VIP’S) & part of its City Centre Master Plan which will see one of Southampton’s most important gateways transformed into ‘an exciting arrival experience fit for a major city.’

Some more images of works in progress:

Image: Wilson Massie for Southampton Station Quarter North

Christopher Tipping, project artist on site - — Christopher Tipping, project artist on site –

The text just visible along the kerb edge reads: 'this route was known as THE STRAND, 'strata super Strondham', ...the street by the shore...' Christopher Tipping — The text just visible along the kerb edge reads: ‘this route was known as THE STRAND, ‘strata super Strondham’, …the street by the shore…’ Christopher Tipping

The site, adjacent to the shoreline of the Test Estuary has always been a point of confluence. The main route West in & out of the city ran along the shoreline and was known as The Strand. At a point marked by Achards Bridge, which replaced an ancient ford across the Rollesbrook Stream which enters the River Test at this point, the city boundary with Millbrook was established.

Today this site is near to the entrance to Southampton Central Station. You may cross the Rollesbrook Stream yourself each time you visit the station. The station is the gateway to the city & a critical hub & interchange.

The individual lines of texts are to be set out adjacent to the carriageway on the south side of Blechynden Terrace at site specific points along the ‘Canal Shore’ feature kerb line, & reveal in their expression something of the history and use of the local area. It is not a linear ‘narrative’ and has no specific start or finish. It will engage with people as and when they encounter the words. Some words and phrases have their origin in fact and are ‘on the record’, whilst some is anecdotal and ‘remembered’.

The black basalt has inset light grey granite. When wet - as today was - the contracts is at it's greatest. — The black basalt has inset light grey granite. When wet – as today was – the contracts is at it’s greatest.

The text on these slabs is part of the following line – ‘The historic shoreline was here in 1846…the north shore of the River Test Estuary’

The 1846 Large Folio Royal Engineers Map held in the Southampton City Council Archive, is wonderfully accurate & detailed. It shows the planned route out over the mudflats of the unfinished ‘Dorchester Railway’. The shoreline was at this time still north of this point, with the high water mark reaching to what is now, the southern footpath of Blechynden Terrace & Southbrook Road. The historic curve of the Bay here is thought to be a meander of the ancient Solent River system. SCC Libraries & Archive

‘Lost: August Kenzler, Age 43, Storekeeper on the RMS Titanic lived at 21 Blechynden Terrace’

August Kenzler was lost when the Titanic struck an iceberg on its maiden voyage. He was one of seven crewmen (from more than 720 from Southampton) who lived in the area bounded by our project.

John Henry Stagg – Steward – 1^st Class – Lost – 66 Commercial Road

August Kenzler – Storekeeper – Age 43 – Lost – 21 (12) Blechynden Terrace

Michael Stafford – Greaser – Age 37 – No 4 Southbrook Road

Walter Edward Saunders – Trimmer – Age 25 – No1 Suffolk Sq (off Southbrook Road)

Long – Trimmer – Age 28 – No 19 Sidford Street –

William Logan Gwinn – Age 37 – No 4 Commercial Road

Bicester Community Hospital, Blog, Healthcare Projects, Public Art

Bicester Community Hospital

November 13, 2014 Christopher Tipping Leave a comment

13th November 2014

The project was approved last week and the files went to print earlier this week. The last two days have seen most of the digitally printed vinyl installed.

Guardian Window Films have manufactured and installed the work at the new Bicester Community Hospital. This new hospital, which has yet to open has been commissioned by Oxford Health NHS Foundation Trust & was delivered by Kajima with construction partner Mansell with IBI Nightingale Architects. The artwork project was commissioned by Artscape
for Oxford Health.

14-11-07 MASTER ARTWORK — Final Artwork – all black areas will print as clear

14-11-03 MASTER V5 — Final Artwork – draft with production marks –

2014-11-09 09.52.13 — Drawing / Model – Draft room plan and applied manifestations

IMG_0118 e — Detail: single panel installed – Image: Tom Cox, Artscape

Blog, Central Concourse - Musgrove Park Hospital, Healthcare Projects, Public Art, Public Realm

Central Concourse – Musgrove Park Hospital

November 13, 2014 Christopher Tipping Leave a comment

13th November 2014, Ramsgate

’70 years on…’ CENTRAL CONCOURSE SCREEN FOR THE JUBILEE BUILDING, MUSGROVE PARK HOSPITAL

I recently came across the work of the photographer, John Seaman, who had been commissioned by the main contractor for the Jubilee Building BAM to make a photographic record. Very lucky for me, that he has a great eye for catching the spirit & intent of the tensile artwork and its relationship to the building and interior space. ’70 years on…’ was a collaboration with Architen Landrell & VGL Vinyl Graphics & was commissioned by Musgrove Park Hospital Capital Projects Office & Art for Life

'70 years on...' Tensile Artwork, Central Concourse, Jubilee Building. Image: John Seaman Photography — ’70 years on…’ Tensile Artwork, Central Concourse, Jubilee Building. Image: John Seaman Photograph

Detail of transparent layering of the tensile screen. Image: John Seaman Photography — Detail of transparent layering of the tensile screen. Image: John Seaman Photograph

The Central Concourse Screen ’70 years on…’ was created to celebrate the delivery of the Jubilee Surgical Building & the 70^th Anniversary of Musgrove Park Hospital. The project was Heritage Lottery funded.

The work is presented as a digitally printed tensile fabric screen made of 26 individually printed panels. It is supported by a bespoke lightweight aluminium & stainless steel double-sided ladder frame 21m x 1.8m, which is itself hung from 3 steel supporting columns of the Central Concourse building. The design & manufacture of the tensile screen and its method of digital printing balance well with the content of the work & its evocation of the past to present a contemporary artwork in a 21^st Century Hospital.

The artwork is presented as a landscape, which, other than at each end, where curved steel panels protect the structure, the artwork can be viewed as a continual narrative sequence. However, this is not a timeline or a linear narrative, which has to be viewed in a particular way or from a particular viewpoint. The observer can simply roll up at any point along its 42m length and begin a journey or their own.

Text was employed in the design as both an aid to the visual narrative & to emphasize the importance of the hospital’s archive collection in this 70th Anniversary year. It also recalls individual and collective voices from the last 70 years. The work done by Louise Donovan, an archivist working with staff and patients past and present to recall their experiences working here has been included in “Sensing our Past”. 70 years of Musgrove Park Hospital’, published in 2012

Words have been used to draw with, or to conjure up the dynamic energy of the hospital. It is presented in a variety of ways, for example, following the line of the Galmington Stream, which runs along the boundary of the Hospital, or as a gestural expression, such as the whirlwind vortex drawing, or a simple circle of fine white text.

They are an eclectic and often mis-matched set of words, evocative of half remembered memories, anecdotes and stories, (as opposed to reproducing hard facts and figures within a fixed timeline). There are perhaps more ‘distant’ voices from early in the life of the hospital, particularly from it’s wartime experience, but I feel this is the way with memory – recall is distant and suggestive of the ‘good old days’.

Some elements within the artwork are obviously and easily recognizable, such as the iconic Eisenhower Tree & Galmington Stream, whilst others are abstract and elusive. A great number of the references are archival in origin, such as the colours, which were influenced by boxes of medical artifacts, some in the original packaging.

Bunches of flowers appear from between the seam joints, which evoke the Lily of the Valley presented to HM The Queen Mother or flowers given by visitors, which were held in vases attached to columns in the Nightingale wards.

The photographic archive too, which contains hundreds of images of staff at work and celebrating events such as Christmas & retirements, as well as visits by Royalty, or the American World Heavyweight Boxer, Joe Louis and the entertainer Bob Hope, who both visited the Hospital during World War II.

My own personal experience of being a part of this Hospital community since 2005, when I was appointed Lead Artist on the 10 year Hospital development programme is also evident in magery influenced by past projects undertaken here.