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

Day 3 – 2nd August 2014

2nd August 2014   Gloucester, Massachusetts Went whale watching today out of Gloucester, Massachusetts with the Cape Anne Whale Watch on the Hurricane II – and despite the rain and cold (very untypical weather), saw two Humpback Whales feeding. This is the second time I have been whale watching. The first time 14 years ago on my honeymoon I saw zero whales , so this is a great success by comparison. No photos of the whales however – it was raining hard and my mobile may have ended up in the ocean – so I erred on caution and simply experienced the scene as it happened in real time & not through a lens – an experience I would recommend! It may not make for the most riveting images of the day, but I can assure you I had a great day.

New York Times weather report for 1st August 2014 is not promising ! Where is the sun?
New York Times weather report for 1st August 2014 is not promising ! Where is the sun?
New York Times 1st August 2014
New York Times 1st August 2014
Cape Ann Whale Watch from Gloucester, MA
Cape Ann Whale Watch from Gloucester, MA
Heading out from Gloucester, MA on the Hurricane II
Heading back to Gloucester, MA on the Hurricane II after 3 hours whale watching
Heading into Gloucester -
Heading into Gloucester –
A fishing boat following in our wake
A fishing boat following in our wake

2014-08-02 13.04.51 2014-08-02 13.36.38 2014-08-02 16.33.17

Gloucester Harbourside
Gloucester Harbour side

Actually on the wildlife front I had a great day all round ! – my tally for today is:

Eastern Chipmunk

Ruby Throated Humming Bird

Gray Squirrel

American Robin

Blue Jay

Northern Cardinal (Redbird)

Tufted Titmice

White Tailed Deer

Humpback Whale

Day 2 – 1st August 2014

1st August 2014

Canton, MA Planning for the day ahead: 1. May go to downtown Boston to visit the Isabella Stewart Gardner Museum as it is free today. 2. I wanted to get up and walk somewhere as I could really do with some exercise – but then breakfast was too good to give up… So I will keep you posted on some images if any of this comes off… Well – we did drive into Boston – fairly heavy traffic all the way – unfortunately, queues around the block for the museum (we should have known better !)- so we just kept on driving and came back to Canton. Maybe a 2 hour round trip, but being driven around is such a treat – even that was enjoyable. Now back home & it is really humid , so I went for a long walk  in the midday sum like any likeminded Englishman ! So hot – so sweaty – so stupid. Such a headache! Domestic architecture around here is wonderfully evocative of an America seen via the TV and from my childhood…Adam’s Family, Bewitched, even Scooby Doo !

Independence Street, Canton, MA
Independence Street, Canton, MA
House on Prospect Street, Canton, MA
House on Prospect Street, Canton, MA
House on Prospect Street, Canton, MA
House on Prospect Street, Canton, MA
House on Prospect Street, Canton, MA
House on Prospect Street, Canton, MA
Leonard Street signage, Canton, MA
Leonard Street signage, Canton, MA
Fallen Hero street signage. Sherman Avenue, Canton, MA
Fallen Hero street signage. Sherman Avenue, Canton, MA
Funeral Home, Sherman Street, Canton, MA
Funeral Home, Sherman Street, Canton, MA

2014-08-01 16.44.19

The Whiteleaf Centre, Aylesbury

Nightingale Architects have made available some new images of the project at The Whiteleaf Centre, Aylesbury. This particular image is of the large meeting room in the resource centre. The digitally printed artwork manufactured by Guardian is applied to the glazing screen. When the sun is strong, this creates an additional and fleeting, ephemeral extension of the artwork cast in shadow upon the floor and adjacent walls.

The digitally printed glazing artwork casts shadows on the adjacent walls.
The digitally printed glazing artwork casts shadows on the adjacent walls.

 

Detail of the Cafe and Waiting area of the resource centre. Image: Nightingale Architects
Detail of the Cafe and Waiting area of the resource centre. Image: Nightingale Architects
Christopher Tipping, the project artist standing next to a sample wall covering installation on the wards at The Whiteleaf Centre.  Image: Tom Cox
Christopher Tipping, the project artist standing next to a sample wall covering installation on the wards at The Whiteleaf Centre. Image: Tom Cox

Central Chelmsford – public art in progress

Detailed design for the Inset text to the Eastern set of steps. Central Chelmsford.
Detailed design for the Inset text to the Eastern set of steps. Central Chelmsford.

 

Detailed design for the text to the York stone steps. Central Chelmsford.
Detailed design for text to the Southern set of York stone steps. Central Chelmsford.

Ashfield  Ltd released some images of sample details for the York Stone steps with inset granite text. All looking very good & can’t wait to see a finished step. The text is in a mid grey honed granite. When wet this will become darker and much more of a contrast to the York Stone. Hopefully Ashfield will issue more images as the works progress.

Details of the text for several steps are used here on a sample panel awaiting approval.
Details of the text for several steps are used here on a sample panel awaiting approval.
Details of partial words and phrases - "Calm & quietude', 'Can you see the Can?' & 'Hurricane'. Inset granite text to York stone step.
Details of partial words and phrases – “Calm & quietude’, ‘Can you see the Can?’ & ‘Hurricane’. Inset granite text to York stone step.
Text sample images. Central Chelmsford project.
Text sample images. Central Chelmsford project.

 

Station Quarter North – Southampton & ‘Canal Shore’ artwork

A few more images of the installation of the ‘Canal Shore’ artwork  and highway works have been issued by Balfour Beatty from the site of the Phase 1 Station Quarter North project in Southampton.

Blended Granite for highway and pavement.
Blended Granite for highway and pavement.
Blended Granite for highway and pavement.
Blended Granite for highway and pavement.
Black basalt kerb detail with water jet cut & inset granite text.
Black basalt kerb detail with water jet cut & inset granite text.
Black Basalt kerb detail with water jet cut & inset granite text.
Black Basalt kerb detail with water jet cut & inset granite text.

Day 1- 31st July 2014

31st July 2014

90 Independence Street, Canton, Boston, MA. First full day in the US. This will be a day to rest. Sat on the deck in very warm breeze watching blue jays, red cardinals and 3 tiny humming birds , amongst other things chasing about the garden. Such a treat to do nothing but watch and listen. There is also something quintessentially American about the sound of trains as they pass through in the distance. Went on a visit to one of  Rose’s friends. They have a black painted swimming pool, which appears like indigo – inky dark. Wish we could have been swimming in it ! Then off to Old Navy to get Nell some flip flops. Something has been killing grey squirrels here too. Steve says that four of the things have been found in the garden recently. One was still there on the lawn last night when we arrived. This morning only the tail was still there. We had a great journey over this time. We travelled via Dublin, from Heathrow. The advantage was that we cleared US Customs and Immigration in Ireland, which meant that we came into Logan via domestic flights, which really sped things up and wasn’t nearly so nerve wracking as usual. Heathrow Terminal 2 was a dream. Hardly anyone around, brand new with really helpful staff. The best check-in experience ever. Richard Wilson’s new sculpture is equally impressive, Actually it is stunning and has an air, both of modernity and fluidity as well as referencing the glamour & physicality of early passenger flight.

Richard Wilson sculpture at Heathrow Terminal 2.
Richard Wilson sculpture at Heathrow Terminal 2.
Richard Wilson Sculpture at Heathrow Terminal 2.
Richard Wilson Sculpture at Heathrow Terminal 2.

‘Heart of the Campus’. Site visit with VGL

Friday 27th June.

GLAZING MANIFESTATION ARTWORKS TO THE ‘HEART OF THE CAMPUS’ BUILDING FOR SHEFFIELD HALLAM UNIVERSITY, COLLEGIATE CAMPUS .

DIGITALLY PRINTED WHITE INKS OVERLAIN IN OPAQUE & TRANSPARENT LAYERS ONTO OPTICALLY CLEAR VINYL .

Up to Sheffield to walk around site with Carly Birkett of VGL . I am developing the glazing manifestation artwork in collaboration with VGL and we have limited time to get this project developed and installed. As usual the project contractors, Graham Construction were really helpful on site and assisted in the process of taking all ‘as built’ measures of the glazing screens which will take the artwork.

East elevation main entrance glazing screen.
East elevation main entrance glazing screen.
East elevation stonework cladding looking great.
East elevation stonework cladding looking great.
Level 2 atrium glazing screen.
Level 2 atrium glazing screen.
Draft artwork for digitally printed artwork manifestation to the East Entrance glazing screen.
Draft artwork for digitally printed artwork manifestation to the East Entrance glazing screen.
Draft artwork for the Level 1 'pod' glazing.
Draft artwork for the Level 1 ‘pod’ glazing.
Mock-up visual of draft artwork for the Level 2 glazing screen.
Mock-up visual of draft artwork for the Level 2 glazing screen.
Draft visual mock-up of applied digitally printed manifestation to Level 2 screens.
Draft visual mock-up of applied digitally printed manifestation to Level 2 screens.

The proposals for glazing manifestations is a continuation of the west elevation Rockpanel rains creen artwork, where cnc routed detailed drawings where been used to create a hard edged and graphic finish, dictated in part by its design influences in historic printmaking and metalworking in Sheffield and by the materials and methods of its own production. The manifestation artworks being are created using the same base visual language & influences developed & explored in the Rockpanel work. This proposal expands upon this concept to explore a softer more fluid application concerned with lightness, detail, transparency & opacity to create a balancing contrast to the dynamic geometry & scale of the building. ‘The designs are abstract & cloud-like, suggesting ephemeral objects, floating within the architectural space from the ground floor to the very top of the atrium roof. The interactions of the various patterns and forms, overlaying and meeting to create new shapes, details and transparencies suggest a coalescing of conversations, interactions, disciplines and dialogue. The exhalations & energy of everyone who may use this new building are manifest here’. The digitally printed vinyl manifestation is applied to the glazing directly which requires a lighter touch than the West Elevation artwork. The detail and narrative appear as if blown and drifted through the building. This project is a continuation, extension and elaboration of the recently completed West Elevation Rockpanel Rainscreen artwork, where cnc routed detail has been used to create a hard edged and graphic appearance, dictated in part by its origins in printmaking and metalworking and the materials and methods of its production. The original concept was developed as a contextual research document, which still stands as the concept driver for the project and is submitted for reference along with this presentation. ‘The manifestation artworks being proposed in draft form here are created from the same base visual language developed for the Rockpanel Rainscreen works of the west elevation, but expands upon this concept to explore a softer more fluid application concerned with light, space & transparency to create a balancing contrast to the dynamic geometry of the building.  

Mock-up visual of Level 2 Screen. White inks digitally printed and overlain.
Mock-up visual of Level 2 Screen. White inks digitally printed and overlain.
Artwork draft for the Level 2 atrium screen.
Artwork draft for the Level 2 atrium screen.
Level 2 Artwork draft for digitally printed glazing vinyl.
Level 2 Artwork draft for digitally printed glazing vinyl.
Draft artwork for Level 2 screen.
Draft artwork for Level 2 screen.

‘1479 plates’, Combe Down Stone Mines 2009

In December 2008 I was commissioned, along with a number of other artists, to respond to the Combe Down Stone Mines Stabilisation Project, which was nearing completion after a 10 year ambitious and ground-breaking engineering-led programme.

The Combe Down Stone Mines Project was a major project undertaken by Bath & North East Somerset Council to stabilise abandoned limestone mine workings in the village of Combe Down and preserve the Health & Safety of the area. The aim of the Project was to remove the current threat to life and property of those living, working in and travelling through the Combe Down area. Collapse of the old mines, which in some instances, lay just metres beneath the surface, was a real possibility. In doing this, the Project ensured that the internationally recognised heritage, wildlife and environmental properties of the area were conserved for future generations.

The Combe Down Stone Mines Stabilisation Project was finally completed in 2010, with 25 hectares of very shallow limestone mines flooded with approximately 600,000 cubic metres of foamed concrete, the largest project of its kind in the world. Over the preceding 200 years some 700 houses had been built over the mines from which the stone was extracted to build Georgian Bath.

The project site of Combe Down, a village on the outskirts of Bath, falls within the World Heritage Site of Bath.

Publicity draft invitation to The Octagon installation and artist talk. Image: Christopher Tipping

 

The arts project team was managed and led by Art Consultants Frances Lord and Steve Geliot. “To celebrate the end of the Combe Down Stone Mines Stabilisation Project the Homes and Communities Agency (HCA) granted £250K funding for commissioning public art. The Combe Down Public Art Project was the result of two years of activity, events, residencies and commissions”. Frances Lord

‘1479 plates’ Art Budget: £54,000.00

 Client:Bath & North East Somerset Council funded by the Homes and Communities Agency, formerly English Herirage. https://www.homesandcommunities.co.uk/combe-down-stone-mines

Agencies: Project Managers: Provelio. Main Contractors: Hydrock & Scott Wilson Specialist Consultants: Oxford Archaeology, ‘Autonomatic’ & Digital Ceramic Systems, Stoke on Trent.

 

There is an interesting and informative film about the work Hydrock did on this project by following this link.

 

Combe Down Stone Mines. Early test samples of Bone China Plates with Combe Down artwork. Image: Christopher Tipping

 

Combe Down Stone Mines. Early test samples of Bone China Plates with Combe Down artwork. Image: Christopher Tipping

 

 

Draft design for the ceramic transfer back stamp applied to the bone china plates. Image: Sarah Alldritt

A 21st Century Miner greeting a 19th Century Stone Miner. Archaeologists found a single bone of the Hare whilst excavating & recording the stone mines – ‘probably someone’s lunch!’. The leek represents the 21st Century mine workers who mostly came from South Wales.

 

‘1479 plates’ installation at The Octagon, Bath, 2009. Image: Kevin Fern

 

Exterior of The Octagon, Bath
Exterior of The Octagon, Bath

 

A selection of images from the Combe Down Stone MInes Project. Image: Christopher Tipping

 

 

Postcard invitation to The Octagon installation and artist talk. Image: Christopher Tipping

 

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'1479 plates' at The Octagon, Bath. November 2009
‘1479 plates’ at The Octagon, Bath. November 2009

 

Invitation to collect your bone china plate following the exhibition and project completion. Image: Christopher Tipping

 

One of 788 Bone China plates produced for the installation.
One of 788 Bone China plates produced for the installation.

 

'1479 plates', The Octagon, Bath. Private View.
‘1479 plates’, The Octagon, Bath. Private View.   Image by ZED.

 

The installation work ‘1479 plates’, was exhibited at The Octagon, an 18th Century Chapel in Bath,  and featured a map of 788 bone china dinner plates , which explores the relationship between present day engineering and mining technology, stone mines heritage, archaeology, natural history, and two 18th Century entrepreneurs of the English Enlightenment, Ralph Allen and Josiah Wedgwood. The work was created in collaboration with ‘Autonomatic’ – 3D Digital Research Cluster at University College Falmouth. The plates were displayed on a curving monolithic wall, redolent of the architectural terraces in Bath, built with the stone from the mines. The exhibition was constructed and managed by REM, Richmond Event Management.

 

The local community was widely consulted and was from the outset a supportive and creative project champions group, attending meetings and contributing significantly to the outcome of the works. I often stayed with local families, which was a very engaging way of collaborating away from the formal meetings and group sessions.  
C. map with animals e

The image above is an A0 size print made to commemorate the project which has the names of all the Miners employed by Hydrock who worked on and contributed to the Combe Down Stone Mines Stabilisation Project. Printed by Digital Arte.

Portraits of Hydrock Miners working on the Combe Down project. Image: Christopher Tipping

 

A proposal to print a limited edition of artworks to commemorate the project. Image: Christopher Tipping

 

A collection of plates from the 788 which made up the installation.
A sample collection of plates from the 788 individual units, which made up the installation.  Image: Portia Wilson

691 households affected by the stabilisation works were gifted a ceramic plate – one small part of the map – representing not only the individual household but the mining underworld beneath it. Following their display at The Octagon, the original 788 dinner plates were donated to form a large scale permanent installation in Combe Down village at some point in the future.

Publicity about the Combe Down project. Bath Chronicle, July 9th 2009. Image: Combe Down Project Office

 

A Celebration Poster design by Peter Brawne for the major community event, which saw the completion of the project. Image: Peter Brawne

 

 

‘Heart of the Campus’, Sheffield Hallam University Collegiate Campus

14th May 2014

I made a site visit to the Heart of the Campus building along with Andrew Illingworth, Interior Designer for HLM Architects & Garry Farmer, Project Manager for Graham Construction, the main contractors on the project. Seen from Collegiate Crescent, the building is just visible behind the mature Beech trees.

Heart of the Campus building, just appearing behind the Beech trees on Collegiate Crescent.
Heart of the Campus building, just appearing behind the Beech trees on Collegiate Crescent.
East Elevation stonework looking incredibly sharp in the sunlight.
East Elevation stonework looking incredibly sharp in the sunlight.

I have been commissioned to extend the original brief for a cnc routed Rockpanel rainscreen on the West Elevation to include digitally printed vinyl manifestations for the East Elevation glazed curtain wall and interiors. This was an incredibly useful visit as the building has really moved forward since my last time here in January this year.

The interior atrium is three storeys high and filled with light. It is a dynamic architectural space which has as a centrepiece, a cantilevered cube projecting out from the first floor. When sunlight floods in via the fully glazed atrium roof, the whole building is suffused with light and shadows.

The interior atrium space is dynamic and light filled.
The interior atrium space is dynamic and light filled
A cantilevered cube meeting space project out into the atrium from the first floor.
A cantilevered cube meeting space project out into the atrium from the first floor me
This is the view from inside the first floor cantilevered cube.
This is the view from inside the first floor cantilevered cube room.
The atrium roof is fully glazed and when a break in the clouds fills the space with light and shadows, the effect is pretty wonderful.
The atrium roof is fully glazed and when a break in the clouds fills the space with light and shadows, the effect is pretty wonderful.
The interior of the main East Entrance to the building is a double height glazed curtain wall. This is an amazing site for the artwork manifestation.
The interior of the main East Entrance to the building is a double height glazed curtain wall. This is an amazing site for the artwork manifestation.

 

This is a part of the external East Elevation entrance, with the double height glazed curtain wall.
This is a part of the external East Elevation entrance, with the double height glazed curtain wall.

Whilst on site I couldn’t resist a quick look at the West Elevation Rockpanel ‘drawing’. This artwork is cnc routed into the rain screen panels & was manufactured by The Cutting Room in Huntingdon. The exposed base material, almost a bright yellow colour when first exposed, darkens in contact with sunlight and has now achieved its permanent shade. This is more subtle then when first installed, & has now blended in with its architectural setting. Up close, the detail is crisp and casts strong shadows on a sunny day.

West Elevation cnc 'drawing' on the Rockpanel  rain screen.
West Elevation cnc ‘drawing’ on the Rockpanel rain screen.
Cnc Rockpanel 'drawing' up close, which reveals the finer detailing and shadows cast.
Cnc Rockpanel ‘drawing’ up close, which reveals the finer detailing and shadows cast.
Detail: cnc routed Rockpanel 'drawing', up close.
Detail: cnc routed Rockpanel ‘drawing’, up close.

 

Draft designs for the glazing manifestation.
Draft designs for the glazing manifestation.

The first drafts for the glazing manifestations  were produced in January this year and use the same iconography as the West Elevation cnc work. The manifestations however, being digitally printed, have no need for hard edges and manageable cutting paths. The designs will work with transparency and light to achieve their results. Digital printing further allows for a range of softer and finer details to be introduced. This is what I am currently working on. The manifestations serve a distinct purpose and have to comply with building regulations. Beyond that, the artwork can develop in many original ways to drift through the building.

HEART OF THE CAMPUS

HEART OF THE CAMPUS

HEART OF THE CAMPUS

 

Day Treatment Unit, Cancer Centre, Churchill Hospital, Oxford – Installation

Work began to prepare the unit for the installation in March this year. What appears to be a simple case of ‘wallpapering’ a space couldn’t be further from the truth within an environment such as this. Sensitivity to the treatments being carried out within the unit is paramount. The ongoing quality and appearance of the DTU must be considered, even during renovations and repair works. As this is a day treatment unit, weekend working for the specialist contractors from VGL is the only option. This means that the project has to be undertaken over a number of consecutive weekends, which appears to extend the project for longer than it really warrants.

 

The following images show the first area to be installed. These are not finished images as further works are due to make good the final positioning of furniture and fittings etc.

28th April 2014 The first panels are installed. This is a test area to ensure that the production and installation methods we have established, do in fact work on site!
28th April 2014 The first panels are installed. This is a test area to ensure that the production and installation methods we have established, do in fact work on site!

Many people make up the wider project team. They have to be consulted and become involved to enable the works to happen. This is time consuming stuff and I am so grateful to Ruth Charity, the Arts Co-ordinator for the Oxford University Hospital NHS Trust who has steered this project since the outset, through its fair share of stormy weather ! The staff particularly have been patient and encouraging throughout.

mmm
DTU – test installation site…

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