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