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‘1479 plates’, Combe Down Stone Mines 2010

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 engineering led programme.

'1479 plates' at The Octagon, Bath.

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

Exterior of The Octagon, Bath

Exterior of The Octagon, Bath

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

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

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 Combe Down Stone Mines Project was a major project by Bath & North East Somerset Council to stabilise abandoned limestone mine workings in 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.

 

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, natural history, and two 18th century entrepreneurs 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.

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A collection of plates from the 788 which made up the installation.

A collection of plates from the 788 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.

The arts project team was managed and led by Consultants Frances Lord and Steve Geliot.

Art Consultants: Frances Lord and Steve Geliot

‘1479 plates’ 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 Ceramics.

‘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.

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DTU – test installation site…

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Day Treatment Unit, Cancer Centre, Churchill Hospital, Oxford. Detailed Design

We have been working alongside Carly Birkett, Account Manager at VGL, Reading, who has collaborated extensively on the design production, manufacture and installation planning for the project. By May 2013, we had small scale sample panels produced and installed within the unit in July 2013 for a number of weeks to gain feedback from staff and user groups. Following this period, the detailed design was revised and re-issued for comment.

Detail: sample panel design for production and installation within the unit to gain comment & feedback on the ideas and concept.

Detail: sample panel design for production and installation within the unit to gain comment & feedback on the ideas and concept.

 

The sample wall coverings were produced and installed for comment. They were also testing the process of installation and the potential hazards and pitfalls of preparing the unit  for the full installation.

7th July 2013 – The sample wall coverings were produced and installed for comment. They were also testing the process of installation and the potential hazards and pitfalls of preparing the unit for the full installation.

Sample installed for review within the unit circulation corridor.

7th July 2013 – Sample installed for review within the unit circulation corridor

One issue which arose was that within the confines of the the narrow corridor, the blurred form of the tree had a rather dizzying effect on some people as they tried to focus upon it. We alleviated the problem by layering another transparent image, which was very sharp, onto the surface, which gave the eye a clear object upon which to focus. Hopefully this has addressed the issue.

A number of trips were made to VGL's offices and production unit in Reading, where I worked alongside the production designer in reviewing and building the production artworks.

A number of trips were made to VGL’s offices and production unit in Reading, where I worked alongside the production designer in reviewing and building the production artworks.

Sample panels spread out for review and discussion at VGL

19th November 2013 and a trip to VGL in Reading. Sample panels spread out for review and discussion at VGL

Sample panels printed for review during design meetings at VGL in Reading

Sample panels printed for review during design meetings at VGL in Reading

Detailed plans of all the interior elevations were plotted by VGL. Carly Birkett made a number of site visit to take measures and ensure the right drawings were produced.

Detailed plans of all the interior elevations were plotted by VGL. Carly Birkett made a number of site visit to take measures and ensure the right drawings were produced.

19th November 2013, reviewing drafts on train home after meeting in Oxford.

19th November 2013, reviewing drafts on train home after meeting in Oxford.

19th `november 2013. Making notes on draft designs

19th `november 2013. Making notes on draft designs

2013-11-19 14.22.38 The three following images are the set of final & approved pdf’s circulated for formal approval. These are the designs which went into production and printing

Final production design for Clinical Preparation Pod area.

Final production design for Clinical Preparation Pod area.

Detailed production design for the Nurse Office Pod area.

Detailed production design for the Nurse Office Pod area.

Final production design for the Storage / Counselling area.

Final production design for the Storage / Counselling area.

Detail: Final artwork

Detail: Final artwork

Detail: Final Artwork

Detail: Final Artwork

Detail: Final Design

Detail: Final Design

These are the individual elevations in linear form which make up the interior 'island' or glade within the unit. Only small sections of the walls can be seen at any one time. The elevations will be interrupted by doors and direction changes etc.

Detail: A partial view of  the individual elevations in linear form which make up the interior ‘island’ or glade within the unit. Only small sections of the walls can be seen at any one time. The elevations will be interrupted by doors and direction changes etc.

The final designs were then sampled and full scale sections delivered to the Trust for review and comment.  As you can see from the following images, the panels were quite a handful to manage and manoeuvre.

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5th December 2013 & a trip to Oxford to review the  new samples. Carly Birkett, Accounts Manager for VGL and Ruth Charity, Arts Coordinator for Oxford University Hospitals NHS Trust, hold up the sample panel for staff and me to view.

5th December 2013 DTU, Cancer Centre, Oxford

On 5th December 2013, we finally approved the samples panels produced from the detailed production designs. From here on it was all go to set a schedule for print, manufacture and installation.

Day Treatment Unit, Cancer Centre, Churchill Hospital, Oxford. Concept & Draft Design

This is an introduction to the project – ‘Landscape: bringing the outside in’

This is a full scale sample panel for an area of bespoke wall covering. VGL produced many such sample for us to approve and have been incredibly understanding and helpful in bringing the project to fruition. Ruth Charity, Arts Co-ordinator is on the right of this image & Carly Birkett, Account Manager for VGLis on the left.

This is a full scale sample panel for an area of bespoke wall covering. VGL produced many such sample for us to approve and have been incredibly understanding and helpful in bringing the project to fruition. Ruth Charity, Arts Co-ordinator is on the right of this image & Carly Birkett, Account Manager for VGLis on the left.

This arts project was commissioned in April 2012 for the Cancer & Haematology Day Treatment Unit, aka DTU, at Churchill Hospital, Oxford.  Ruth Charity, the Arts Coordinator for Oxford University Hospitals NHS Trust has been instrumental in delivering the arts strategy. The Cancer Centre opened in March 2009 & was delivered by the Churchill Construction Consortium and designed by Steffian Bradley Architects.

The art project is currently in production and installation is starting on site this coming weekend.

The project brief described the unit as: “Between 70 -90 patients/day attend the Day Treatment Unit requiring treatment for varying malignancies and benign blood disorders. The treatment regimens (e.g. chemotherapy / blood transfusions) can be complex & lengthy, taking anything from 30 minutes to several hours, with some patients attending twice a week and others once every three weeks. The Day Treatment Unit consists of one long horseshoe-shaped room,accommodating 12 beds & 30 chairs. Currently there is little artwork on the walls and there is little of interest for patients to view. The windows are very high so there is no opportunity for patients to look out and thus no sense of what the weather is like or even what season it is. As a space, which patients visit on a regular basis, it offers little to lift the tedium of repeat visits”. 

Day Treatment Unit, Nurse Station. The patients within the unit are treated in beds or chairs set out around the perimeter of the rooms, facing into the centre of the room with any windows and natural light behind them. This is a typical view of the space.

Day Treatment Unit, Nurse Station. The patients within the unit are treated in beds or chairs set out around the perimeter of the rooms, facing into the centre of the room with any windows and natural light behind them. This is a typical view of the space.

Day Treatment Unit. All the treatment areas face onto a central 'island' of nurse stations and clinical rooms and service corridors, which make for a rather un-relieving view. Some patients are here for up to 4 or 5 hours at a time.

Day Treatment Unit. All the treatment areas face onto a central ‘island’ of nurse stations and clinical rooms and service corridors, which make for a rather un-relieving view. Some patients are here for up to 4 or 5 hours at a time.

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Day Treatment Unit, view from treatment areas with beds and chairs.

Day Treatment Unit, view from treatment areas with beds and chairs.

Day Treatment Unit.

Day Treatment Unit showing treatment chairs facing away from the windows. Although the nurse stations benefit from the natural light which comes in from a series of small, high windows, it does appear to diminish the experience of patients within the unit.

Day Treatment Unit Corridor

Day Treatment Unit Corridor

The aims of the project were :

to create a more welcoming, positive and inviting feel to the Chemotherapy suite;

to create new work that will provide some distraction for patients undergoing treatment;

to create new work that responds to the architecture and interior design of the space and unifies the space;

to create new work that is created with sensitivity to patients and those working in and visiting the department;

to create work that responds to the art programme theme of landscape: bringing the outside in;

to create work that is easy to clean, meets infection control standards and requires little or no maintenance

'Bringing the landscape in...;, The concept was driven by the woodland and planting which surrounded the Cancer Centre, very little of which could be viewed from within the unit. The sky was predominant as the windows are so high. Blue sky, clouds, rain, grey, bright, dull, overcast - all conditions which influenced our discussions and responses to the site.

‘Bringing the landscape in…;, The concept was driven by the woodland and planting which surrounded the Cancer Centre, very little of which could be viewed from within the unit. The sky was predominant as the windows are so high. Blue sky, clouds, rain, grey, bright, dull, overcast – all conditions which influenced our discussions and responses to the site.

Blue sky with clouds...

Blue sky with clouds…

Our approach had to be considerate of and sensitive to the treatments being delivered here and the wellbeing of patients. Scale and distance form the walls was a critical factor. We have to be extremely careful about colour or figurative detail and scale which could have a negative influence on patients.  The more muted and soft views on an early misty morning image taken in a local park began to appear more condusive to setting the stage for our intervention.

Our approach had to be considerate of and sensitive to the treatments being delivered here and the wellbeing of patients. Scale and distance  of patients from the walls  opposite was a critical factor. We had to be extremely careful about colour & figurative detail and scale which could have a negative influence  and impact on patients. The more muted and soft views on an early misty morning image taken in a local park began to appear conducive to setting the stage for our intervention.

'Landscape: bringing the outside in..."

‘Landscape: bringing the outside in…”

Tree shadows on a concrete wall are both sharply focussed or softly blurred depending on the distance of the tree from the wall.

Tree shadows on a concrete wall are both sharply focussed or softly blurred depending on the distance of the tree from the wall.

The shadows of trees here combine with the building onto which they are bast to create an abstract backdrop.

The shadows of trees here combine with the building onto which they are bast to create an abstract backdrop.

I have worked at the Cancer Centre previously within the adjacent Chemotherapy Waiting Room, where a large triptych – an architectural glass artwork, originally commissioned for the old Oncology Unit by GBS Architects, had been re-sited successfully as a screen between the patient waiting room and clinical offices and corridor. This work was further enhanced by digitally printed optically clear vinyl installed on all interior glazing panels within the waiting area by VGL Ltd. I will post an archive review of this project in due course under the heading ‘Chemotherapy Waiting Room’. 

The DTU project was initiated with a two day residency during which I talked to staff and engaged with patients. The delivery of treatments make this a very sensitive place to observe and great care was taken to be as unobtrusive as possible. There has been an ongoing process of engagement & he staff have been a continual joy to work alongside. Their collective upbeat and supportive collaboration has made this project particularly special for me. The key staff, who smoothed the progress of the project throughout have been: Eliz Flanagan – Lead Chemotherapy Nurse, Jane Skelly – Chemotherapy Specialist Nurse and Moira Cunningham – Sister, Oncology and Haematology Outpatients. Other members of the Champions Group who informed my work & engagement within the department are: Claire Tasker – supporter, Julie Bourchier – former patient & Liz Creak – former patient.

Initially I produced a to-scale model of the interior ‘island’, a cluster of rooms around which I was to base the installation. The idea was to create an interior landscape, or vista which almost felt as though the trees and plants were overhanging the space, creating an abstract misty glade to look into.

Plan drawing of the DTU. The pink area outlined in red shows the 'island', a cluster of rooms at the centre of the unit around which the circulation flows. The green line shows the perimeter of the unit and the position of  the treatment chairs and beds all aligned to face the 'island'.

Plan drawing of the DTU. The pink area outlined in red shows the ‘island’, a cluster of rooms at the centre of the unit around which the circulation flows. The green line shows the perimeter of the unit and the position of the treatment chairs and beds all aligned to face the ‘island’.

This is a scale model of the interior 'island' and a concept surface design to illustrate the approach.

This is a scale model of the interior ‘island’ and a concept surface design to illustrate the approach.

Research image - overhanging tree...

Research image – overhanging tree…

Scale model investigating the concept and approach.

Scale model investigating the concept and approach.

Draft for the 'island' elevations.

Draft for the ‘island’ elevations.

Draft artwork for the Beverage Bay wall elevation

Draft artwork for the Beverage Bay wall elevation

Draft wall elevation

Draft wall elevation

Draft Wall Elevation

Draft Wall Elevation

 

We have been working alongside Carly Birkett, Account Manager at VGL, Reading who have collaborated on the design production, manufacture and installation planning for the project. We have had small scale sample panels produced and installed within the unit for a number of weeks to gain feedback from staff and user groups. Following this period, the detailed design was revised and re-issued for comment.

 

 

 

 

 

 

 

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The Whiteleaf Centre, Aylesbury

Today I received some new images of the Whiteleaf Centre and the interior and am posting them here by kind permission of Oxford Health NHS Foundation Trust.

The core members of the project team with whom I collaborated on the project are:

Tom Cox – Project Manager, Artscape, Oxford Health NHS Foundation Trust, Mental Health Division

Mark Bateman – Capital Development Manager, Oxford Health NHS Foundation Trust

Britta MacDonald – Senior Assertive Outreach Worker, Oxford Health NHS Foundation Trust

Michelle Harding – Head of Adult Acute Pathway, Oxford Health NHS Foundation Trust  

Neil Flint – Commercial Services Manager, Oxford Health NHS Foundation Trust

Whiteleaf Centre, Nightingale Associate Architects, Front Elevation with some glazing artwork visible on the right hand side.

Whiteleaf Centre, Kier and Nightingale Associate Architects for Oxford Health NHS Foundation Trust.  Front Elevation with some glazing artwork visible on the right hand side.

Whiteleaf  Centre, Main Reception. Some glazing artwork can be seen on the doors and glazing to the external courtyard to the centre of the image.

Whiteleaf Centre, Main Reception. Some glazing artwork can be seen on the doors and glazing to the external courtyard to the centre of the image.

Ward Hub Interior - showing the ward identity artwork. Each of the 4 wards has a colour coded artwork to assist in creating a unique identity for each area.

Ward Hub Interior – showing the ward identity artwork. Each of the 4 wards has a colour coded artwork to assist in creating a unique identity for each area.

Detail of Ward Hub artworks.

Detail of Ward Hub artworks.

The Whiteleaf Centre, Aylesbury. Front entrance elevation. The small sapling tree on the green roundabout in the foreground is a specimen tree planted to create a focal point.  The tree is a Variegated Tulip Tree and was decided upon in collaboration with the project Landscape Architect, Robyn Butcher of Terra Firma Consultancy.

The Whiteleaf Centre, Aylesbury. Front entrance elevation. The small sapling tree on the green roundabout in the foreground is a specimen tree planted to create a focal point. The tree is a Variegated Tulip Tree and was decided upon in collaboration with the project Landscape Architect, Robyn Butcher of Terra Firma Consultancy.

70th Anniversary Screen, Central Concourse, Jubilee Building, Musgrove Park Hospital

Architen Landrell, who manufactured and installed the tensile screen, sent me their project images this week. Some of these I hadn’t seen before, so  am now posting for the first time.

One side up !

One side up !

Looking into the central void space between columns.

Looking into the central void space between columns.

One side of the double sided screen is attached -

One side of the double sided screen is attached –

Digitally printed fabric in process of installation and attaching to frame.

Digitally printed fabric in process of installation and attaching to frame.

They show the fabric installation in progress and the steel frame attached the columns in the Central Concourse. The concept for the work was determined by the need for the fabric to create a privacy screen between the main thoroughfare and hub of the Central Concourse & the clinical corridor which ran adjacent to it, without compromising the architectural space or blocking light. GEDC0208_1.0 - (602627)_Extra Large - (762759)

The tensile fabric is translucent and the supporting structure and columns can be seen through it.

The tensile fabric is translucent and the supporting steel frame structure and architectural columns can be seen through it.

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Detail: Shadow 'Cross' & dynamic flow of archive narrative .

Detail: Shadow ‘Cross’ & dynamic flow of archive narrative .

Text was used as both a textural device and a narrative with which to lead the viewer through the work. Text came from two primary sources. The Hospital provided a great archive through which to trawl. A good deal of this was in the form of written accounts of service by retired staff. The other source was form an ex US Servicemen, Sidney A. Smith MD, who had served as a doctor at Musgrove Park during WWII. His book, A History of Musgrove Military Hospital During World War II and The 67th General Hospital, was a fascinating account of the early years and origins of the Hospital. Sidney Smith had very kindly allowed me access to his photographs & images  during my time working a lead artist at Musgrove Park. Some of this text is below:   “A Royal Visit by H.M Queen Elizabeth the Queen Mother on Thursday, 19th November 1959, was a great occasion for Taunton. The town was gaily decorated, church bells pealed, and, despite the dismal weather forecast, the spirit of the people was at its brightest. Following the reception at the Station, H.M. Queen Elizabeth left for the Musgrove Park Branch of the Taunton & Somerset Hospital, where on arrival, she was presented with a posy of orchids, pink rosebuds and lilies of the valley”.  “The 67th General Hospital adopted a banner, which bore images of a Pine tree and a cactus plant to symbolize the Maine contingent of doctors and nurses joined with the enlisted men who were mostly from Texas and Oklahoma”.  “We used to have Sunflower competitions at the back of x-ray. Seeds would be planted and ingenious methods of support would be rigged, much to the amusement of both staff and patients”.   “From the beginning of my time here we had the National Uniform, classic navy blue for the Sisters and light blue for the Staff Nurses and of course you had your belt, which kept many a waistline under control. We were quick to abandon the paper hats, although the sisters were more reluctant to lose their frilly hats and sleeves. Everyone knew who you were because of the uniform you wore”. 

The frame as seen from level one.

The frame as seen from level one.

The tensile work fully installed. The right hand side of the Central Concourse will become a retail area with units running the same length as the screen opposite.

The tensile work fully installed, as seen from the Level 1 balcony. The right hand side of the Central Concourse will become a retail area with units running the same length as the screen opposite. They are just out of shot in this image.

The Central Concourse space has a fantastic timber ceiling detail by Project Architects BDP. GEDC0236_1.0 - (602653)_Extra Large - (762779)

Turner Contemporary, Margate

We popped over to the Turner Contemporary in Margate yesterday to see the last weekend of the Making Painting: Helen Frankenthaler & JMW Turner

Thought that was a pretty wonderful dual presentation & really enjoyed the dynamic positioning of the Edmund de Waal vitrines.

Edmund de Waal at TC Margate

Edmund de Waal at TC Margate

Edmund de Waal at TC Margate

Edmund de Waal at TC Margate

Edmund de Waal at TC Margate

Edmund de Waal at TC Margate

Station Quarter North, Southampton

I travelled down to Southampton for a site visit to review the basalt kerbs installed along Blechynden Terrace.

Looking East along Blechynden Terrace towards Central Station, with the Grade 2 listed Brutalist Wyndham Court on the right hand side. The kerbside artwork feature is 290 metres long & features an inset narrative relating to to specific events and places along the line.

Looking East along Blechynden Terrace towards Central Station, with the Grade 2 listed Brutalist Wyndham Court on the right hand side. The kerbside artwork feature is 290 metres long & features an inset narrative relating to to specific events and places along the line.

These robust blocks form the kerb edge to the ‘Canal Shore’ artwork currently in production by Hardscape up in Halifax.  Some corner quadrant features have been installed. This feature runs from outside the Station Forecourt, to the bottom of West Park Rd and Kingsbridge Lane. This text based work – the text is created via water jet cutting and inlaying a contrasting granite into the basalt – is 290 linear metres long x 795mm wide. The text slabs have arrived on site, but awaiting installation in July.

 

Draft artwork for part of the text feature 'Canal Shore'.

Draft artwork for part of the text feature ‘Canal Shore’.

Draft Artwork of text for 'Canal Shore'.

Draft Artwork of text for ‘Canal Shore’.

Draft setting out of text for the 'Canal Shore' detail.

Draft setting out of text for the ‘Canal Shore’ detail.

Robust basalt blocks  from Hardscape on site awaiting installation as part of the kerbside feature 'Canal Shore'.

Robust basalt blocks from Hardscape on site awaiting installation as part of the kerbside feature ‘Canal Shore’.

Large scale basalt quadrant blocks installed on site along Blechynden Terrace.

Large scale basalt quadrant blocks installed on site along Blechynden Terrace.

 

 

 

Margate Flood and Coast Protection Scheme, aka ‘Margate Steps’ wins Town Pride Award !

On Thursday 8th May 2014, at an event at the Walpole Bay Hotel in Cliftonville, the Margate Flood and Coast Protection Scheme, aka ‘Margate Steps’ was awarded a Town Pride Award 2014 by the Margate Civic Society.

Margate Civic Society, Town Pride Award 2014

Margate Civic Society, Town Pride Award 2014

This follows the 2013 award given to the project at the Institution of Civil Engineers (ICE) South East England Engineering Excellence Awards 2013. This award was particularly welcomed as it recognised the benefit of the project in enhancing the experience of its host community. The project team behind the scheme received the award from ICE Senior Vice President, Geoff French, at a ceremony which was held at Leeds Castle on Friday 7 June. The awards recognise the best civil engineering projects across South East England with the judges looking for projects that deliver a real benefit to society through the knowledge, skills and professional expertise of civil engineers.

The new Kings Stairs, Margate Steps

Margate Steps, Sunset

Margate Steps, Sunset

The revetment steps are  now almost a year old and appear to have been really taken to heart by both the community & visitors alike. As well as fulfilling a vital role as protection from the risk of flooding, the defences were designed as a stepped revetment which accommodates integrated seating and lighting to provide an incredible amenity and public realm from which to enjoy Margate’s famous coastal views and sunsets.

Margate Steps at High Tide

Margate Steps at High Tide

 

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