Category Archives: Transport

‘VOID’, LONDON ROAD 2008

‘During the nights of 30 November and 1 December 1940, the Southampton Blitz reached its climax as the city came under sustained attack. Hundreds of tonnes of bombs were dropped during the two nights, whilst on 30th November alone some 634 individual properties were left ablaze –’. Ordnance Survey

Sustained & heavy bombing between 23rd – 30th November 1940, left Southampton City Centre devastated. The destruction at the very heart of the built fabric of the city left seven Churches destroyed, including Holy Rood, All Saints, St James’, St Mary’s, St Luke’s & St Paul’s.

Sexfoil Terrazzo seat on London Road, Southampton 2008. Image: Graham Redman

Above: ‘Void’. A bespoke black terrazzo platform seat, one of two sexfoil shaped seats commissioned for the London Road scheme, completed in 2008. The public art and interpretation for the public realm and highways improvement project was inspired by the Parish of St Paul’s Church, London Road, a vibrant community and shopping street, which was effectively destroyed on November 30th 1940 during the Southampton Blitz, when the Church was bombed and devastated by fire. London Road was badly damaged and the Church never rebuilt. An evocative image from the time shows the Church interior with the shape of the destroyed Rose Window appearing as a black void. This project evolved around this one powerful image. It evokes a legacy of community, architecture and people, which is explored in the public art seating other found on site today.

St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives
The manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London.
‘VOID’, sexfoil geometry drawing. London Road, Southampton. Image: Christopher Tipping
‘VOID’, sexfoil bench geometry drawing. London Road, Southampton. Image: Christopher Tipping
‘VOID’, sexfoil bench sketch drawing for stainless steel leg supports. London Road, Southampton. Image: Christopher Tipping
‘VOID’, sexfoil bench sketch drawing for test sample. London Road, Southampton. Image: Christopher Tipping
‘VOID’, sexfoil geometry drawing. London Road, Southampton. Image: Christopher Tipping
‘VOID’, sexfoil geometry drawing. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings & models for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings & models for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
Sketch line drawings & models for paving and seating plans. London Road, Southampton. Image: Christopher Tipping
St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives
St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives
Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman

This project was commissioned by Elizabeth Smith, Public Art Officer for Southampton City Council in 2005, to work in collaboration with the project team to research, develop and create concept designs and proposals for environmental public artworks integral to the London Road scheme.  I was asked to establish an overall concept for the area with particular consideration of pedestrian use and movement across roads and through spaces & placemaking and urban form, hard and soft landscaping, paving details and surfacing treatments, thresholds, markers or ‘gateways’, seating and / or sculpture. My contribution was contextually driven and collaborative.

Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman

2 No. 3000mm diameter x 140mm thick pre-cast dark grey/black terrazzo platform seats manufactured in one piece to a Sexfoil pattern, inclusive of a 160mm built up external edge with 100mm radius semi bullnose detail and 10mm pencil round rebate. Grade C40 concrete is to be used. All terrazzo mixes and samples were approved prior to manufacture by Southampton City Council engineers and the project artist (me). The seats are reinforced throughout to A393 with 10mm welded bar mesh. Bottom mesh to full cover. Top mesh localised cover only to ‘hot spots’. All grit polished to a fine 120 honed finish, chemically sealed with anti-graffiti finishes approved by SCC.

5 No. 3000m x 700mm x 140 lozenge shaped benches were also manufactured, each with inset text. Both bench types have stainless steel leg supports, 316 SS spec.

The benches were positioned at relevant site along London Road, which related to past events and distant voices as well as lost buildings.

Text from an old St Paul’s Parish Magazine reflected the local community. Image: Christopher Tipping by permission of Southampton Local Studies & Maritime Library.
Text from an old St Paul’s Parish Magazine reflected the local community. Image: Christopher Tipping by permission of Southampton Local Studies & Maritime Library.

Above: Ordinary lives and everyday events were recorded in a series of surviving Parish Magazines form St Paul’s Church. These distant voices of a local community and Parish still seem fresh and lively.

Text from an old St Paul’s Parish Magazine reflected the local community. Image: Christopher Tipping by permission of Southampton Local Studies & Maritime Library.
The Manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London.
The manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London. The moulds were all made by hand and cast by hand too. Image: Christopher Tipping
The manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London. The moulds were all made by hand and cast by hand too. Image: Christopher Tipping
Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman
Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman
Lozenge Terrazzo seat on London Road, Southampton 2008. “the spirit of the townspeople is unbroken – December 1940′. Image: Christopher Tipping

Lozenge Terrazzo seat on London Road, Southampton 2008. “Mile End, 6 hours, Saturday 30th November 1940′. Image: Christopher Tipping

‘Naked Street takes National award. Southampton’s new ‘naked street’ in London Road has picked up a national award for the Best Urban Transport Design from the Chartered Institute of Logistics and Transport, regarded as one of the top industry awards 2010.

This is a significant boost for the naked street concept, the principles of which promote a balance of traffic movement and social uses of public spaces. London Road in Southampton was stripped of road signs, given ‘informal’ road signs, and widened footpaths. The scheme has already had a positive impact by decreases in serious injury accidents and a reduction in vehicle speeds. Living Streets believe that schemes which use naked streets principles have great potential to make our streets safer and more people-friendly, by changing the behaviour of all road users for the better. London Road in Southampton is a good example of a scheme that has improved safety and ensured accessibility.

This scheme has also been chosen by the Department of Transport (Dft) as an example of best practice and will be included in the Dft’s national design document ‘Manual for Streets 2.’

Highly Commended: London Road, Southampton

Solent Quality Places Design Awards 2010

Sponsored by PUSH, the Solent Design Awards are all about the encouragement of Quality place-making: schemes that create special places, lift communities, create richer experiences …not just iconic buildings but also the places in-between, the carrier spaces for our daily lives.

Street scene on a regenerated London Road following the project completion in March 2008. Image: Christopher Tipping
Street scene on a regenerated London Road following the project completion in March 2008. Image: Christopher Tipping
Street scene on a regenerated London Road following the project completion in March 2008. Image: Christopher Tipping
Sexfoil Terrazzo seat on London Road, Southampton 2008. Image: Christopher Tipping
Street scene on a regenerated London Road following the project completion in March 2008. Image: Christopher Tipping
St Paul’s Church, London Road, Southampton 1890. Image: Southampton Local Studies and Maritime Library & Southampton Archives
St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives
St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives
Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman
Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman

WINCHESTER STATION APPROACH – PART 8 – A CHANGE OF DIRECTION

At the beginning of August 2019 I was issued with a much simplified plan of the public realm proposals by LDS Architects.

August 2019 Public Realm Plan for Winchester Station Approaches. Image: LDS Architects (cropped & annotated).

Above: This image – a cropped version of the plan drawing issued by LDA, shows the principal public realm and station access roads. The previous concept proposal for the public art benches and interpretation following the radial plan as previously illustrated was no longer viable, but the strong horizontal banding across the station forecourt still provided a viable grid and scaffold upon which to set out my ideas.

I have always been in favour of using sandstone as the principle paving material, as this has history with the city, plus in terms of colour and appearance, seems much more sympathetic to the fabric of the site and its low level & undemonstrative railway architecture, rather than big city, corporate use of granite for public realm.

Sandstone Paving – Public Realm, Francis Crick Institute, London. Image: Christopher Tipping
Winchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe
Stone paving and ceramic tiles from the interior of Winchester Cathedral. Image: Christopher Tipping

We could explore the use of varied sizes of paving slab, within a manageable modular framework. The stone paving in the Cathedral for example, exhibits a wide range of slab size, from a small unit square Purbeck Stone tile – which appears to have been the principle paving material – to the larger and unique Ledger (memorial) Stones in Tournai Marble & other stones.

Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping
Detailed & annotated concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping

Above: Both images explore the possibilities of embedding interpretive Public Art elements within the revised LDS Public Realm proposal – seating, paving and retaining structures bringing an original and creative interpretation to the site. Working within the proposed LDS scheme, seating could be positioned at intervals along the parallel banding, using these lines as the principal interpretive parameters.

Concept study for a cast Iron paving panel with low relief text. Winchester Station Approaches. Image: Christopher Tipping

The key in the plan above outlines the use of:

Sandstone for main paving of the forecourt –

Cast Iron elements with low relief text and / or motifs set within the parallel banding in the paving & an extra wide kerb detail . There were several Iron Foundries in Winchester, which served the Railways –

Porphyry Paving for the primary parallel banding –

Bespoke Benches or ‘Perches’ –

Possible sandblasted, inlaid or etched surface patterns to the sandstone paving – employing super-graphic motifs inspired by the medieval ceramic tiling within the Cathedral –

Granite, Cast Iron, Cast Concrete or Steel defensive barrier structures which can double as seating or ‘perches’, following the radius curve of the highway. These are modelled on cross sections through stone piers in the Cathedral. –

Draft artworks playing with text, texture and the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping
Black & white motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Image: Christopher Tipping
Detail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping
Detail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping
Detail: Plan drawings of Winchester Cathedral taken from ‘The Grid System & Design of the Norman Cathedral’ by Eric Fernie.
Pier Sections: Winchester Cathedral. Detail: Section drawings of Transept & Nave Piers of Winchester Cathedral taken from ‘The Grid System & Design of the Norman Cathedral’ by Eric Fernie.
Pier Section study. Winchester Cathedral. Image: Christopher Tipping
Pier Section studies Winchester Cathedral. Winchester Station Approaches Project. Image: Christopher Tipping
Concept & site interpretation studies for seating, barrier structures and public art, based upon pier sections from Winchester Cathedral for Winchester Station Approaches public realm. Image & Artwork by Christopher Tipping
Detail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping
Black & white motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Used as large scale decoration on a proposal for a monolithic stone bench. Image: Christopher Tipping
A decorative motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Used as large scale decoration, either inset or sandblasted, on a proposal for a monolithic stone bench. Image: Christopher Tipping

WINCHESTER STATION APPROACH – PART 7 – WELCOME TO WINCHESTER

In June 2019 I was issued with early draft plans for the public realm proposals at the Station by LDS Architects on behalf of Winchester City Council. I proposed to add a layer of creative interpretation to these plans, based on my contextual research and employ the setting out details within the LDS plan as a secure foundation into which I could set my public art concept drafts. My proposal was always going to be about utilising the need for paving, seating, retaining walls and other practical details of public realm highways engineering to keep visual clutter at a minimum. This would also be more economic in terms of budget use and future management and maintenance.

Concept & interpretation draft studies for seating and public art for Winchester Station Approaches. Base detail plan drawing by LDS Architects. Image & Colour Artwork by Christopher Tipping

Above: The Station building is on the left of this plan drawing (as seen from above). The plan for the public realm is primarily a sequence of parallel horizontal bands (green) delineated in the paving, which flow downhill from the Station towards City Road and another series which flow uphill along Station Road. However, this baseline geometry is combined with a radial pattern (also in green) which expresses the radius curve in the highway as it transitions from Station Road to Station Hill. This radial pattern provides the anchor for a series of seats (red) and secondary barrier structures (blue). These are concept ideas only – and not designs.

Concept & interpretation studies for seating and public art for Winchester Station Approaches. Base plan drawing by LDS Architects. Image & Artwork by Christopher Tipping

Above: This concept study shows a series of interrelated structures – which could be seating, walls, barrier structures or paving – set out in a radial pattern. These forms are presented as interpretive devices which exhibit combinations of materials and motifs, which seen together in this way embody ideas and responses developed from the contextual research I have undertaken.

Draft form for seating or paving. Terrazzo with exposed polished flint. Image: Christopher Tipping
The building materials of Winchester. Image: Christopher Tipping
Draft forms for seating or paving. Terrazzo with exposed polished flint. Image: Christopher Tipping
Draft forms for seating or paving. Monolithic Stone with laminate stone extensions & inset text or applied pattern. Image: Christopher Tipping
Detail of Illuminated Initial in Gold. Winchester Bible Illumination. Copyright Winchester Cathedral. Image: John Crook

Above: The Winchester Bible is regarded as the largest & finest 12th century Illuminated Manuscript. The script is by the hand of a single monk scribe from Winchester. However, the magnificent illuminations were often drawn and painted by itinerant artists – lay professionals who travelled between monasteries and centres of learning. These Illuminated Initials have been inspirational, as has the Morley Library, of which the Winchester Bible is a part. Bishop George Morley bequeathed his collection of rare books to the Cathedral in the 17th Century. His collection is also monogrammed.

Draft artwork playing with text & the texture and pattern of knapped flint. Image: Christopher Tipping
Draft artwork playing with text as illuminated initials & the texture and pattern of knapped flint. Image: Christopher Tipping
Draft artworks playing with text as illuminated initials & the texture and pattern of Winchester building materials. Image: Christopher Tipping

Above: Polished flint terrazzo circle with inset letter ‘W’ in Swedish Marble with sandblasted detail, resin bonded in white.

Draft artworks playing with text, texture and the richness of architectural decoration in Winchester. Image: Christopher Tipping

Above: Plan study (meaning ‘seen from above’)of a monolithic sandstone bench with a flat seating surface with the inset letter W and Circle motifs in flint aggregate terrazzo. Below: Sandstone & Flint are primary building materials in Winchester.

Sandstone is a primary building stone of Winchester. Image: Christopher Tipping
There is one sample of Swedish Marble in Winchester Cathedral. A Ledger Stone for the daughter of Sir John Clobery. Image: Christopher Tipping

“Of particular interest is the ledger stone (memorial) of Francisca Clobery, the daughter of Sir John Clobery. She died in 1683 and her grave is in the south aisle of the Retrochoir, in front of her father’s monument. It is of a distinctive Ordovician limestone (around 465 million years ago) from the Island of Öland, Sweden, containing the straight-shelled Nautiloid.” from ‘Winchester Stone’ by Dr John Parker 2016. ‘John Parker studied geology at Birmingham and Cambridge universities. He is a Fellow of the Geological Society of London. For over 30 years he worked as an exploration geologist for Shell around the world. He has lived in Winchester since 1987. On retirement he trained to be a Cathedral guide’. John has personally shown me around the Cathedral and pointed out many geologic wonders and quirks.

190507 BENCH laminated 1 Winchester Station Approaches. Christopher Tipping
Draft artworks playing with text, texture and the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping

Above: Studies for objects (seating?) in Timber, Sandstone and Swedish Marble employing techniques of inlay, lamination, polishing and sandblasting.

Draft artworks playing with text, texture and the richness of architectural decoration & materials found in Winchester. Image: Christopher Tipping

Above: Study for two concept benches in monolithic black Tournai Marble with inlaid detail and laminated stone additions of Swedish Marble.

Ledger stone of black Tournai Marble with carving in Winchester Cathedral. Winchester Station Approaches. Christopher Tipping
Detail: Carved figures from the 12th Century Tournai Marble Font. The building materials & memorials of Winchester Cathedral. Image: Christopher Tipping
Draft artworks playing with text, texture and referencing the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping
Draft artworks playing with text, texture and referencing the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping

I hope to investigate manufacturing processes which allow stone to be cut, laminated, decorated and finished in a manner which embodies the richness of the Cathedral interiors and it’s ongoing repair and regeneration – BUT – in a functional manner, either as seating etc or as a method of improving wayfinding for visitors.

Draft artworks playing with text, texture and referencing the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping
Concept & creative interpretation studies for seating and public art for Winchester Station Approaches. Image & Artwork by Christopher Tipping
Concept & creative interpretation studies for seating and public art for Winchester Station Approaches. Image & Artwork by Christopher Tipping

WINCHESTER STATION APPROACH – PART 6 – STATION HILL – A LOCAL HISTORY

Station Hill leads up to Winchester Train Station from the busy junction of Stockbridge Road, City Road, Andover Road and Sussex Street. Swan Lane also joins here. The site has been historically known as Carfax, meaning the meeting of roads. The Carfax Hotel, formerly on the site now occupied by the Hampshire Records Office took its name from this historic site. The Masterplan proposals for this whole site, developed by Winchester City Council’s Consultants Lifschutz Davidson Sandilands Architects, is referred to as the Carfax Site. and incorporates the Station Approaches & public realm.

Winchester Station and environs. Annotated by me to show Streets and Roads. Image: Copyright Google Earth
A page referencing the history and standing of Station Hill and the Train Station taken from the Cultural Heritage Assessment for Station Approach, Winchester, by Elaine Milton, Heritage and Planning. Winchester City Council 2015
Station Hill 1909. Winchester Station Approach project. A local community. Images: Christopher Tipping Collection
Station Hill, Winchester. Winchester Station Approach project. A local community. Image: Copyright:Facebook.com/Oldwinchesterphotos/. Station Hill 1976.
Station Hill, Winchester. Winchester Station Approach project. A local community. Image: geograph – 4303039Photo © Jaggery (cc-by-sa/2.0)

Station Hill today doesn’t give much away about it’s local community or life as a lively neighbourhood, but this wasn’t always the case.

I will try to add to this post throughout the project as new research throws up characters and stories.

A page referencing the history and standing of Station Hill, the Train Station and environs taken from the Cultural Heritage Assessment for Station Approach, Winchester, by Elaine Milton, Heritage and Planning. Winchester City Council 2015
Warren's Street Directory 1890 Ref: H 042.27 Hampshire Archives & Local Studies, Winchester.
Station Hill, Winchester. Warren’s Street Directory 1890 – Ref: H 042.27. Hampshire Archives and Local Studies, Sussex Street, Winchester.

Above: Warren’s Street Directories, held in the Hampshire Records Office on our doorstep, lists street by street, almost everyone who lived at each residential property. If this was a business, then it lists the nature of the business, as well as the people who owned it. A wonderful archive. The books also contain the most interesting advertising for local products and services, mostly & brilliantly illustrated.

Carfax Hotel, Station Hill & Sussex Street, Winchester.Date unknown. Winchester Station Approaches Project. Image: Winchester City Trust.
Description of the Carfax Hotel by Barry Taylor from The Lost Pubs Project. http://www.closedpubs.co.uk/hampshire/winchester_carfaxhotel.html
Hampshire Archives and Local Studies. Sussex Street, Winchester. This building replaced the old Carfax Hotel. Image: Winchester City Council
AUTOWORK , (Winchester)Ltd. Station Hill, Winchester. Date Unknown. Winchester Station Approaches Project. Image: Winchester City Council
Station Hill looking down towards Sussex Street and Swan Lane. Date unknown. Winchester Station Approaches Project. Image: Winchester City Council.
Station Hill, Winchester. 1902 Warren’s Street Directory. Image: Hampshire Archives and Local Studies.
Roger Brown’s Model of Winchester circa 1873. This brilliant model was made in the 1980’s and took 9 years to complete. Image: Christopher Tipping. Copyright: City of Winchester Museum.

The Train Station is seen above in the bottom left quadrant. Roger Brown’s model was based on the OS Map of 1873. Roger had been a Planning Officer for Winchester City Council.

Some key building are still extant , such as the Station and the South Western Inn, formerly the Railway Refreshment Inn – & up until 2015, Winchester Register Office. The Carfax Hotel is visible on the junction of Station Hill & Sussex Street. The terraced houses of Gladstone Street are there too, but the Reservoirs of the Sussex Brewery, seen on the OS Map of 1870 now appear to be allotment gardens. Needs a bit more investigating to discover what the reservoirs were for. I can’t find any reference to the Sussex Brewery.

The original Railway Refreshment Inn opposite the Station, was up until 2015 the Winchester Register Office at No.6 Station Hill. Image: Christopher Tipping
Roger Brown’s Model of Winchester circa 1873. Copyright: City of Winchester Museum.

Above: A bit blurry…but nonetheless the Station and Public House are clearly shown. A narrow footpath leads to Sussex House just beyond the Station in this image. A lovely circular garden feature can also be seen just left of the Station forecourt behind a fence. I wonder if this was a public or private space?

Roger Brown’s Model of Winchester circa 1873. Copyright: City of Winchester Museum.

Above; At centre is the Carfax Hotel building on Station Hill and Sussex Street. This important crossroads, (or Carfax), shows a complex junction of City Road, Swan Lane, Station Hill, Andover Road and Sussex Street. Looking rather genteel – and not the complicated crossing for pedestrians we experience today.

Station Hill, Winchester. 1914 Warren’s Street Directory. Image: Hampshire Archives and Local Studies.
Station Hill, Winchester. 1930 Warren’s Street Directory. Image: Hampshire Archives and Local Studies.
Station Hill, Winchester. 1939 Warren’s Street Directory. Image: Hampshire Archives and Local Studies.

By 1970, the Carfax Hotel, first named in 1918, had fallen into disrepair during the 1960’s. It had been taken over by the King Alfred Teacher Training College as student accommodation. However, it was demolished in 1972 as part of a road improvement scheme.

Station Hill, Winchester. 1970/71 Warren’s Street Directory. Image: Hampshire Archives and Local Studies.

winchester station approach – Part 4 – Materials, ABSTRACTION & PATTERNS

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.

The building materials of Winchester. Image: Christopher Tipping

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.

A mash-up of the decorative building materials of Winchester & my own patterns. Image: Christopher Tipping

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

The building materials & memorials of Winchester Cathedral. Image: Christopher Tipping
An abstract mash-up of the decorative building materials & styles of Winchester mixed with my own ‘Winchester inspired’ patterns. Image: Christopher Tipping
The building materials & memorials of Winchester Cathedral. Image: Christopher Tipping
The building materials of Winchester. Image: Christopher Tipping
The building materials of Winchester. Image: Christopher Tipping
Abstract drawings based on knapped flints, one of the building materials of Winchester. Image: Christopher Tipping
Abstract drawings based on knapped flints, one of the building materials of Winchester. Image: Christopher Tipping
A mash-up of the decorative building materials of Winchester & my own patterns. Image: Christopher Tipping
The building materials of Winchester. Image: Christopher Tipping
The building materials of Winchester. Image: Christopher Tipping
An abstract mash-up of the decorative building materials & styles of Winchester mixed with my own ‘Winchester inspired’ patterns. Image: Christopher Tipping
A mash-up of the decorative building materials of Winchester & my own patterns. Image: Christopher Tipping

WINCHESTER STATION APPROACH – PART 2 – June 2019

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.

Draft concept visuals for Winchester Station Approaches. Images: Christopher Tipping
Draft concept visuals for Winchester Station Approaches. Images: Christopher Tipping
Plan view of the Station approaches. Image: Christopher Tipping

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.

Concept drafts for repeat pattern paving influenced by the Cathedral Medieval Tiled floors. Image: Christopher Tipping
Concept drafts for repeat pattern paving influenced by the Cathedral Medieval Tiled floors & built environment. Image: Christopher Tipping
A page from my research document June 12th 2019. Image: Christopher Tipping

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.

A page from my research document June 12th 2019. Image: Christopher Tipping









A page from my research document June 12th 2019. Image: Christopher Tipping









A page from my research document June 12th 2019. Image: Christopher Tipping
A page from my research document June 12th 2019. Image: Christopher Tipping
A page from my research document June 12th 2019. Image: Christopher Tipping
A page from my research document June 12th 2019. Image: Christopher Tipping

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.

WINCHESTER STATION APPROACH – PART 1 – EARLY DAYS

Early beginnings…outlines…some thoughts and notes –

Medieval Tiles Pavement in Winchester Cathedral. Image: Christopher Tipping
Medieval Inlaid Tile Pavement in Winchester Cathedral. Image: Christopher Tipping

Actually, this short concept development project was commissioned in May 2019 by Winchester City Council . The brief called for creative & contextual research with which to frame a ‘concept-led’ draft scope for the inclusion of public art & interpretation within the Winchester Station Approaches project. The client’s Architectural & Urban Planning consultants LDS Architects have developed a Masterplan Framework & Public Realm for the Station Approach site, which has since been made public & my work may eventually be embedded into this scheme or influence the final detailed design for the public realm.

As a creative research-led project I have set out to celebrate the City of Winchester’s rich cultural history by examining its use of specific materials, decoration & craft skills within its architectural legacy and built landscape, with a particular emphasis on Winchester Cathedral, one of the largest Cathedrals in Europe.

The Station is the Gateway to the City, once the Anglo Saxon capital under Alfred the Great. As a Gateway the Station and its surrounding external environment should be above all else welcoming. The public realm is required to deliver this. It can also give visual expression, via its landscape, materials and detail to what may be discovered by visitors moving beyond the Station. The Cathedral, for example cannot be seen when arriving by train, when, by contrast the Cathedrals of both Bath and Durham present their magnificent architecture from afar.

This is still early days in research and concept development. No doubt this project will shape-shift considerably along the way.

Winchester Station booking hall. Image: Christopher Tipping
Arriving into the booking hall at Winchester Station. Image: Christopher Tipping
Winchester Station. Image: Christopher Tipping
Winchester Station. Image: Christopher Tipping
The view down Station Hill from outside the Station. Image: Christopher Tipping
The view down Station Hill from outside the Station. Image: Christopher Tipping

People come from around the world to visit Winchester.

5 million arrivals and departures recorded in 2018 –

What should this Gateway communicate about Winchester?

The Cathedral ?

The Cathedral was founded in 1079 – it is an astonishing 940 years old  & we can still walk around it in the footsteps of countless others. The whole building was completed in the form we see & experience today in the 16th Century. The spectacular Nave in Perpendicular Gothic with Lierne Vaulting was completed in the 14th & 15th Centuries. The carved oak Quire Stalls were created between 1306 and 1309. We know who carved them & we know who repaired them.  

The magnificent Lierne Vaulting in the Cathedral was constructed between the 14th & 15th Centuries. Image: Christopher Tipping
Magnificent Lierne Vaulting in the Cathedral was constructed between the 14th & 15th Centuries. Image: Christopher Tipping

‘In the Christian Medieval world, this ‘arrival’ was rewarded through the sheer brilliance & breath-taking fusion of art & architecture as seen in the form of the Cathedral. This building was clearly at the heart of Winchester and England. It was the house of God and widely interpreted as the gate of Heaven, a world-renowned centre of pilgrimage, education & religious life’.

CONCEPT: to explore some the materials that built Winchester and, in doing so, reinforce their importance and role in communicating the cultural significance of the city. Rare & bespoke materials and craft can reflect this. These materials connect us to the past, the present & the future. 

  1. Manufacturing and contemporary methods – crafts fused with the latest technology.
  2. Reflect the ingenuity and importance of the craftsmen & master masons of the age of Cathedrals. Illuminated Manuscript Illustrators and Master Masons were itinerant specialists – often travelling continually between great building projects.  
  3. I am also influenced by the on-going work to maintain and secure historical structures. Cathedral Masons repair and replace stonework. Over time, this must lead to substantial renewal. This concept of gradual change and renewal is of great interest.

STATION FORECOURT

For Example: Solid or monolithic blocks used as primary public art sculptural artwork benches within the current forecourt plan submitted by LDS Architects – with secondary barrier benches in another repeating style.

OPTIONS: creative thinking out loud ! Materials could include…

OAK – inspired by the massive oak timbers in the cathedral roof & bell tower and the brilliance of the carving in the Quire Stalls.

Massive Oak beams inside the roof of Winchester Cathedral. Image: Christopher Tipping
Huge Oak beams support the roof of the Cathedral. Image: Christopher Tipping
Carved Falconer detail from the Quire in Winchester Cathedral. Image: Dr John Crook
Carved Falconer detail from the Quire in Winchester Cathedral. Image: Dr John Crook

TOURNAI MARBLE – The beautiful 12th Century font – see below – sculpted from a single massive block of blue black carboniferous limestone, known as “Tournai marble“, was quarried from the banks of the River Scheldt’ & brought from Tournai in modern day Belgium. These were extremely rare and highly prized medieval luxury items. The natural stone is 135 million years old.

The 12th Century Font is made from a single block of black Tournai Marble from Belgium. Image: Christopher Tipping
The 12th Century Font is made from a single block of black Tournai Marble from Belgium. Image: Christopher Tipping

Bench Three: SWEDISH MARBLE – see below – this was considered an exotic imports from the Baltic states & illustrates the connectedness of Winchester to other places through trade and pilgrimage.  This ledger stone is for Francisca Clobery, the daughter of Sir John Clobery. She died in 1683 and her grave is in the south aisle of the Retrochoir, in front of her father’s monument. Sir John was a 17th Century Merchant with connections to Europe.

Alfred the Great twice went on pilgrimage to Rome, the first time as a young boy in 853AD. I can’t but wonder if he had seen the Pantheon & the astonishing interiors of marble clad walls and polished patterned floors?

The memorial stone for of the daughter of Sir John Clobery in Winchester Cathedral is made from imported Swedish Marble. Image: Christopher Tipping
The memorial stone for of the daughter of Sir John Clobery is made from imported Swedish Marble. Image: Christopher Tipping

GLASS – The huge medieval stained glass West Window was smashed by Cromwell’s forces in 1642, but the fragmented remnants were gathered together and the window eventually restored maintaining the fragmented style.

The great West Window of Winchester Cathedral. Image: Christopher Tipping
The great West Window of Winchester Cathedral. Image: Christopher Tipping

CAST IRONGUN METAL – Jewell & Son, City Foundry, between Middle and Lower Brook Street in Winchester was owned by the Jewell family and made components for the GWR Railways Winchester to Newbury Line. It was one of several iron foundries in the city. The coming of the railway and the ensuing Victorian Industrial Revolution brought massive change and population growth to the city. On each of the bells of the Cathedral it is recorded that it was ‘Recast by John Taylor and Co., Loughborough, 1937’. John

One of the peal of Bells in Winchester Cathedral recast in 1937 by John Taylor & Co. Loughborough. Image: Christopher Tipping
One of the peal of Bells in Winchester Cathedral recast in 1937 by John Taylor & Co. Loughborough. Image: Christopher Tipping

TERRAZZO – a fusion of fragmented materials with the

ARCHITECTURAL CERAMIC – Much of Winchester is built of brick and tile, with clay locally sourced and manufactured & fired often close to the site. The Cathedral has an extant 13th Century pavement of inlaid ceramic including many beautifully reproduced in the 1960’s.

GRANITE – Granite is not a historic building material in Winchester, nonetheless it does appear in various forms within the city centre. however, For example, the plinth for for the statue of Alfred on the Broadway (1901) is made of granite. Brought by rail from Penryn in Cornwall , at the time they were the largest blocks of granite ever moved – and processioned by steam tractor through the streets of Winchester – at the height of the second Industrial Revolution and Victorian pomp.

FLINT – a quintessential Winchester material.

SANDSTONE

LIMESTONE

These materials could be treated in the following ways:

Materials could be cut, laminated and re-cut to present a geological and decorative expression – using the latest manufacturing technology. Surfaces can be inlaid, laser etched, sandblasted or textured to provide variety and narrative. Objects can be cast, moulded or carved.

Lines & intersections within the general forecourt paving scheme suggest way-finding & direction but are also resonant of the magnificent Cathedral Lierne Vaulting, a high point in Gothic Architecture & engineering skill – the crossing and interweaving of stone vaulting providing the myriad crossing points and junctions for decorated bosses.  Within the Station forecourt and approaches, these paving lines will intersect, at which point more focussed detail could be embedded in the form of robust but beautifully finished granite or cast iron units. These lines extend outwards from the Station Forecourt up Station Road and down Station Hill. I would propose to extend interventions and interpretive artwork in this direction to encourage the preferred pedestrian routes.

Pattern & Decoration seen throughout Winchester and fused into an astonishingly beautiful form in the Cathedral reflects the local & natural world of flora and fauna, alongside the non-secular world of Christianity and faith. I am inspired by the brilliance of illustrated manuscripts, such as the Winchester Bible & Botanical Manuscripts held in the Cathedral Library and Archive. Fragmented details of these motifs could be used to animate the forecourt and Gateway, but also to give clues to visitors and locals alike as to what may be found within the City.

Secondary Barrier features nearest to the highway could all be in the same material – granite or sandstone. Reinforced concrete base structure could be stone clad or be used as an immoveable base / foundation.

The fusing of architectural styles, which in turn create a legible & experiential timeline over hundreds of years in the Cathedral is an on-going inspiration.

Intersections

Meetings

Crossroads

Carfax

Quadrifurcus

Conduited Water flowing under the City

Streams and Rivers and Water Meadows – Mill Ponds

Quietly Communicate this concept – Beauty, architectural and cultural heritage, technology, creativity found in the City of Winchester using a palette of resonant and contextually intriguing materials, textures and narrative (tell good stories!) –

I am also researching the following:

Sussex Brewery & Reservoirs on the Carfax Site –

Local business and inhabitants of Station Hill, Station Road and Gresham Street –

Durngate Mill – A 700 years old Water Mill demolished in 1966 with massive oak timbers and cast iron machinery made locally –

Winchester City Mill

Craft Guild processions held on Corpus Christi by the Catholic Church – 

P.C. Jewell, City Iron Foundry, Winchester –

William Walker – Deep Water Diver & Cathedral Saviour

Site specific and local details can reflect smaller influences – the lives and livelihoods of local people and what they did etc. It is important to acknowledge the whole community its diversity.

I am creating options for paving, seating, edges, retaining structures and kerbs – this keeps sightlines clear and reduces clutter in the landscape.

‘Purbeck marble was extensively used for grave markers and grave stones (ledger stones). Later, large black ledger stones of Tournai marble were very much in fashion. Of particular interest is the ledger stone of Francisca Cloberij (sic), the daughter of Sir John Clobery. She died in 1683 and her grave is in the south aisle of the Retrochoir, in front of her father’s monument. It is of a distinctive Ordovician limestone (around 465 million years ago) from the Island of Öland, Sweden, containing the straight-shelled Nautiloid, Orthoceras’. It is something of an anomaly, but intriguing nonetheless.

I have made several visits to Winchester to consult with specialists, with particular relevance to the Cathedral. I have walked the streets, and routes into the City and experienced the crossing points and have undertaken my own creative site analysis. I have ongoing research threads with the City and with a number of specialist materials suppliers and manufacturers. I have consulted with the Hampshire Archive Services and the Winchester City Trust.

I have meetings arranged with the Cathedral Archivist and Librarian and also with the Cathedral Stonemasons. If possible, I would like to collaborate with the Stone Mason in the production of one of the benches.

Chatham Placemaking Project – SEATING Part Two

Progress on Chatham Street Benches at Andrew Lapthorn’s workshop in December 2018. Image: Andrew Lapthorn

Working with Andrew Lapthorn has been amazing. We have collaborated really well. He has done ALL the hard work. His craftsmanship is of the highest quality. The timber elements he has contributed to the project are artworks in their own right and I can’t wait to see them all installed. I know for a fact that he has been documenting his process throughout the project and that he has some amazing images. I am really hoping to get my hands on them and bask in his reflected glory.

He did in fact let a few images slip from his grasp – and they are reproduced here.

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

I showed the image above in the last post, but needed to upload again so you can make sense of the images to follow. This shows a single plank of elm being bent to shape over the formwork. The radius laminate seat involves laminating and bending 45 individual layers of English Elm to create the final work. Each layer may contain up to 3 or 4 individual cut planks of timber. The effect of this is to create not only a robust and highly engineered structure, but a sculptural object with beautiful aesthetics, colour variation and flow.

 

Progress on Chatham Street Benches at Andrew Lapthorn’s workshop in December 2018. Image: Andrew Lapthorn

 

Progress on Chatham Street Benches at Andrew Lapthorn’s workshop in December 2018. Image: Andrew Lapthorn

 

Progress on Chatham Street Benches at Andrew Lapthorn’s workshop in December 2018. Image: Andrew Lapthorn

 

Progress on Chatham Street Benches at Andrew Lapthorn’s workshop in December 2018. Image: Andrew Lapthorn

 

Chatham Placemaking Project – SEATING Part One

A visit to Andrew Lapthorn’s workshop in November 2018. Image: A Face in the Elm, Christopher Tipping

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

Lower Railway Street, Chatham. Monolithic Granite & English Elm seating. Image: Christopher Tipping

 

I have been working in collaboration with Andrew Lapthorn Furniture  on a series of 6 monolithic granite and English Elm seats to be positioned at key anchor points within the streetscape of our Chatham Placemaking Project.

Andrew is a furniture designer and maker. He has a workshop within the Historic Dockyard Chatham. It is almost impossible to consider the historic and social fabric of Chatham without the Dockyard playing a major role. We have consulted with Nigel Howard, Historic Environment and Buildings Manager for the Dockyard throughout the project and have been granted access to their archives and buildings. They have been very generous in their support. When Nigel was made aware we were proposing to work with Andrew on the project he made a very generous gift to the project of seasoned timber, free of charge from the historic Timber Seasoning Sheds. Nigel had also generously offered us some monolithic slabs of granite, which have great historic resonance to our project, which we have unfortunately not been in a position to use as yet – but never say never !

 

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Christopher Tipping

 

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Christopher Tipping

 

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Christopher Tipping

 

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Christopher Tipping

 

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Christopher Tipping

The quality of some of these images is poor I’m afraid, but the content is pretty amazing…the interiors of the seasoning sheds have an otherworldly feel about them. These buildings were erected in 1775, to provide the Admiralty with at least 3 years of timber. Andrew unearthed some massive planks of English Elm. The age of the timber was hard to discern. Andrew thinks it may have been here for decades as least. The actual tree or trees they were cut or salvaged from could have been well over a century old before felling or being toppled through the effects of storm damage.

Timber Stores, Historic Dockyard Chatham, July 2017. Image: Andrew Lapthorn.

 

As with all creative proposals, we have been through various iterations, responded to challenges and made changes along the way. The following images relate to this design and creative process and show the evolution of the work and some of the outcomes on the street.

 

Draft proposals for granite and timber seating, Chatham, 2016. Artwork: Christopher Tipping

 

In 2016, during the early concept and development stages of the project, I had proposed this series of benches as a way of exploring the relationship between the significant building materials of the Historic Dockyard and the materials and contextual ideas being explored along out project route through Chatham Town.

 

Draft proposals for granite and timber seating with Chatham Patterns, Chatham, 2016. Artwork: Christopher Tipping & Xtina Lamb

 

 

The Chatham Patterns were a significant part of our concept to develop a distinct and site specific visual language for the streetscape and our creative public realm work. I collaborated with Xtina Lamb, Printmaker on this work. In this instance, the patterns were to be sandblasted into the honed surface of the monolithic granite blocks by Hardscape.

 

Draft proposals for granite and timber seating with Chatham Patterns, Chatham, 2016. Artwork: Christopher Tipping

 

Andrew responded to these early draft ideas and we discussed incorporating traditional techniques for creating large scale joints and methods for joining and connecting timber, which would be suggestive and resonant of shipbuilding in Chatham, as well as exploring advances in technology such as laminating and bending timber. These are his drawings – & his hands…

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

Draft sketches for timber seating elements for Chatham by Andrew Lapthorn, January 2018. Image: Christopher Tipping

 

In early November 2018, FrancisKnight and I visited Andrew at his workshop to see progress on the benches. I was blown away by the beauty and craftsmanship around me. The English Elm has the most wonderful patterns and figures in the grain. There was even half a face staring our at me. We were really so impressed. The work was solid, beautiful, resonant and robust, which is just as well as life as a street bench is tough !

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: A Face in the Elm, Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: A Face in the Elm, Christopher Tipping

 

I couldn’t resist creating a mirror image – a portrait in English Elm.

 

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

A visit to Andrew Lapthorn’s workshop in November 2018. Image: Christopher Tipping

 

 

 

 

 

CHATHAM RAILWAY STATION

£1.4m Chatham station regeneration gets underway…

 

Creative Public Realm proposals for Chatham Railway Station. Lead Artist: Christopher Tipping

 

‘Medway Council successfully secured £700,000 from the government’s Local Growth Fund through the South East Local Enterprise Partnership (SELEP) to contribute towards the £1.4m upgrade, with Network Rail match-funding the windfall through its National Station Improvement Programme’. Medway Council

This was great news to see this project being promoted on Linkedin this week by Medway Council. Following the near completion of public realm works and embedded public art along Railway Street and Military Road, including New Cut, St John’s Steps and Military Square, Chatham Railway Station is now about to undergo its long awaited regeneration too, at the head of our works as part of the Chatham Placemaking Project.  

I made one of the first posts about Chatham Station on this blog back in September 2015 in the very early stages of our research and contextual work on the project. Click on this link for more information

Chatham Railway Station 2015. Image: Christopher Tipping

Chatham Railway Station 1910. Historic Image: by kind permission of Medway Archives and Local Studies Centre

Chatham Railway Station – Date unknown. Historic Image: Copyright of and by kind permission of Medway Archives and Local Studies Centre – Couchman Collection

Chatham Railway Station – Date unknown. Image: Copyright and by kind permission of Medway Archives and Local Studies Centre – Couchman Collection.

 

Many draft proposals and developments of conceptual and contextually based responses to the site were developed and considered. The final detailed designs for public art interventions were presented to Medway Council and their partners Network Rail in January 2018. This work dovetails with works already carried out and continues themes and material choices and finishes established at the outset of the scheme.

The following images highlight the proposals we put forward at the beginning of 2018.

 

Creative Public Realm proposals for Chatham Railway Station – Page 1. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 2. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 3. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 4. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 5. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 6. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 7. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 8. Lead Artist: Christopher Tipping

 

 

Creative Public Realm proposals for Chatham Railway Station – Page 9. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 10. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 11. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 12. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 13. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 14. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 15. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 16. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 17. Lead Artist: Christopher Tipping

 

Creative Public Realm proposals for Chatham Railway Station – Page 18. Lead Artist: Christopher Tipping

THESE ARE OUR STREETS for the Chatham Placemaking Project. Image & Artwork: Simon Williams. Lead Artist: Christopher Tipping