A short post on patterns of paving, used externally in the City streets. These images are a simple & straightforward record of paving and materials used in highway engineering and the public realm in Winchester. What I am interested in is the variation and the happenstance, which occurs between pattern, materials and textures. The ordinary and mundane, boring ?…no ! Some richness and patterns emerge, often as a result of repair & regeneration. Interesting to note changes at thresholds and edges. Old and new side by side. They are perhaps not the most exciting of images – but for those of you who look down to see & care about what you are walking on – you too may also see something that inspires you, as I have been inspired.
The image above is a detail of the beautifully carved ebony black polished stone 12th Century font, with its depiction of the miracles of St Nicholas. It is without doubt one of the Cathedral’s greatest treasures. It was brought from Tournai, in modern day Belgium. It has been in use ever since. It is astonishingly fresh and wonderful.
It isn’t too hard to find odd and quirky combinations of both mundane & exotic materials and examples of spectacular & naive decorative arts and crafts side by side in Winchester, especially in the Cathedral. Almost one thousand years of continual occupation of this religious site bears witness to an unbroken architectural legacy, one that is brimful of odd juxtapositions, exotic materials, renewed or replaced fabric, scratched graffiti, vandalism and destruction. Like walking through a time-warp. Robust Norman Romanesque Architecture to Perpendicular Gothic in one step. Swedish Marble to Purbeck Stone in another. Extant 13th Century inlaid ceramic floor tiles to 1960’s replicas. Striking thresholds crossed mixing time and material, yet the experience is not jarring or disjointed. Time itself has softened these transitions and blurred the edges.
I am continually cherry picking from the world around me, plucking at things, tucking things away for later – like a squirrel, gathering nuts for winter or in the manner of a herbivore, continually grazing, & chewing the cud. I am gathering visual information – an extraordinary cabinet of curiosity in my mind. Certain things catch my attention, whilst others pass me by. This eclectic meander is not a considered or deliberate creative manoeuvre. It is innate. It is my pattern of speech, it is my handwriting. It simply is.
SANDSTONE – FLINT – LIMESTONE – EBONY BLACK TOURNAI MARBLE – HAND MADE BRICK – OAK TIMBERS – INLAID CERAMIC TILES – MONOLITHIC GRANITE – CAST IRON – GUN METAL – CARVED OAK – STAINED GLASS – WINDOW TRACERY – LEAD
Oh my word…we’re on a roll in production up at Hardscape in Bolton.
These images are hot off the press, as skilled stone specialists at Hardscape focus on the applied detail. Water jet cutting, inlaying, sandblasting and laser etching their way through 15 bespoke units destined to be embedded into the landscape of the new housing development at Rochester Riverside for client Countryside Properties. This work needs to be handled with care and demands high levels of craft skills. Hardscape have been excellent at providing creative collaboration .
Above: This is the ‘&’ from ‘WALRUS & NELLIE’. Water jet cut into a slab of Red Shiraz Granite 900mm x 300mm x75mm. It is awaiting the inlaying of the circle of yellow Amarelo Real Granite. It looks amazing. WALRUS & NELLIE were the names of two portable aggregate conveyors loading stone and cobbles on and off barges at Cory’s Wharf, Blue Boar Hard.
Above: This is the laser etched ‘DUNLIN A SALTMARSH BIRD’, , waiting to be water jet cut from its slab of beautiful Carlow Limestone & inset into a slab of red granite. See image below, where the DUNLIN has been partially cut out from the block in concentric linear patterns. This is a complex unit, with other letters inlaid. Precision is key. These beautifully crafted objects embedded in the landscape, will be a gentle reminder of the natural, social and industrial history of the site.
The laser etched image of the Shelduck will now be water jet cut out of the Carlow slab and the motif inlaid into a slab of Kobra Green Granite, which has the shape of the bird already cut into the surface.
Interesting to note also that the Carlow Limestone has beautiful fossil shells embedded. Also note that these are not my feet, they probably belong to Pedro, who is overseeing and also working on my project. Without skilled people like this, I would be lost !
Always a relief to see projects get to this stage ! The printing has started ! Swift Signs in Weymouth are now in production of the glazing vinyl artworks for the Radiotherapy Outpatients Unit. Install is scheduled for next week. Watch this space !
Have you ever thought what is up there, caught between the vaulted ceiling and the external roof? It was this hidden void in the attic, described as ‘a forest‘ , which so disastrously burned at Notre Dame in April this year. On Wednesday 19th June this year I ventured up the Tower of Winchester Cathedral to reach the same space. I have really wanted to venture into this cavernous space – between the 14th & 15th Century vaulted nave we see in the image above and the original massive timbered roof for years. This complex structure is what pilgrims and locals would have seen & looked up into prior to the nave being constructed. It is the most amazing floating world – a dark void – a medieval secret.
Above: This is the timber walkway inside the void space, which sits atop the massive oak beams which cross the nave . The walkway disappears into the bell tower and Norman part of the Cathedral. Images do not do this space justice! This is the longest Medieval Cathedral nave in Europe. The Lierne Vaulted ceiling of the nave lies just below the cross beam timbers.
‘The cathedral possesses the only diatonic ring of fourteen church bells in the world. The back twelve were all cast by John Taylor & Co in 1937. They were augmented to fourteen when two new bells were added in 1992 by the Whitechapel Bell Foundry. ‘One bell was cast by Anthony Bond, an itinerant Founder in 1621.’ Wikipedia Ref
Above: This image shows Norman stone carving high up in the Bell Tower. Quite amazing to get so close to it. The stonemason’s tool marks so fresh still.
Here are a few images of the final artworks – it may help to know that any white used in the design does not print – and remains completely clear – bringing the outside in and extending the impact of the work to the external landscape beyond the clinical spaces. The colours also vary in transparency and opacity, so do not appear anywhere near as flat and opaque as they do in the artwork – which is a good thing right? I thinks so…
The top and bottom screen elevations work together as two adjacent spaces, where the designs overlap. Anything printed white here is actually completely clear and does not print. so you could imagine these two images combining with the external landscape.
Mid-September and it was up to Hardscape, Bolton to see progress on the manufacture of the bespoke inlaid granite paving units. As ever, the works are of a really high quality and Hardscape are always keen to progress & test their creative collaborations.
15 granite units are in production. These vary in size from 1200mm x 400mm x 75mm to 900mm x 300mm x 75mm and are destined to be installed at the thresholds to housing & apartment blocks at Rochester.
This work is achieved via water jet cutting and inlay techniques using colour matched resin to bond granite elements in place. Text and other motifs are also sandblasted at varying depths.
In August all was ready for the casting of the iron units and off I eagerly trotted on the train up to Hargreaves Foundry in Halifax to be present during a famous ‘Casting Thursday’! – I have been up to Hargreaves only once before and Andrew Knight, Foundry & Patternshop Manager showed me around the factory at that time. Even though this was impressive, (& it is !) it couldn’t match being present to witness my own work being cast. It is such a physical, visceral process, fully hands on and dangerous with it. The skill & craft is astonishing and it is this legacy of making, which Hargreaves has in bucketfuls, that I wanted to design into the public art work for Rochester.
Nine cast iron units have now been made, from 5 original cnc tooled patterns manufactured to my designs by Arthur Jackson & Co Ltd, Halifax. These patterns, cnc tooled from a type of resin block are used to prepare the resin sand mould boxes used in the final casting process. The cast units are then hand finished through grinding and polishing methods.
Individual one ton iron weights are used to secure the moulds during casting, such are the pressures of heat during the process. The moulds are constructed from a resin infused black sand, which has been compacted around the master pattern, which is then removed.
What I can’t convey here is the noise, heat, smell & excitement of this process during the critical stages of casting. The experience is vivid and visceral. I am watching something being made which could last for hundreds of years.
The units above and below have now been treated with Nitric Acid to prevent rusting through oxidation. The cast iron is almost black and the relief jumps out very cleanly.
These sketches and studies below are part of a series of early drafts and drawings, which were completed in June this year. They were derived from contextual research and concept design development for the generation of the interpretive public art elements at Winchester Station. Several versions of this initial research have been submitted for discussion and comment.
These early drafts considered an ‘all-over’ repeating pattern for natural sandstone paving, influenced by the Cathedral’s extant 13th Century medieval inlaid ceramic floor tiles – and used here as a super-graphic motif. At this time I was not responding to any masterplan proposals from the client’s Architects and Urban Planners LDS – as these had not yet been circulated for discussion. The ideas were formulated in response to my own research in the city and now form the foundations of my project approach.
The building stones of Winchester are hugely influential when looking at the interpretation of place and the significance of the Station as a gateway to the City. Although granite has been used here, local sandstones and limestones with flint and brick dominate.
The low lying architectural scale and presentation of the Station buildings, warrant a softer frame with regard to paving. Sandstone fits this bill. Granite being perhaps too corporate and ubiquitous for this site.
The City has a strong tradition of procession and pilgrimage, which reinforces notions of way finding and direction, arrival and departure, as well as the physical experience of walking and the materials you are walking upon.
Formalities aside, it was a great day and I was very touched and proud to have been involved in the project . The weather was pretty glorious on the day – so the glazing appeared at its very best., reflecting perfectly off the pool surface and creating the most beautiful backdrop for the day’s events. Positive comments all round was a great sign that the project had been a collaborative & creative success. A massive thanks to Art at the Heart and especially to the efforts of Hetty Dupays, Art and Design Manager and her brilliant team.