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All forms of commissioned artwork and consultation which can be viewed by the public in predominantly public places.

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

Tuesday 26th August 2014 Several images of the installation have just come in from VGL ‘s installers. These are low res images. I will be making a trip up to Sheffield in the next week or so to review the site prior to the Phase 2 works being undertaken. I will hopefully get more detailed images too !

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Interior of the east elevation main entrance screen

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East elevation

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East elevation

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East elevation

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Interior view of north elevation entrance screen

‘Heart of the Campus’, Sheffield Hallam University, Crescent Road

Tuesday 26th August Glazing manifestation artworks for 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 . Phase 1 of the installation by VGL has now completed, but I have yet to get images of the completed works on site. The following images are of the approved production artwork for Phase 1. We are now awaiting confirmation that the Phase 2 project will be put into production. Graham_Construction_layout_ELV_A Graham_Construction_layout_ELV_B Graham_Construction_layout_ELV_C Graham_Construction_layout_ELV_D

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.

‘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.  
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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