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

 

hybrid 1e

The Whiteleaf Centre, Aylesbury

The Whiteleaf Centre is a £43 million 80-bed Mental Health Centre in Aylesbury. It was completed and opened in February 2014. The building was instigated by Oxford Health NHS Foundation Trust and delivered by Kier Construction and Nightingale Architects. The Landscape Architects were Terra Firma Consultancy.

Whiteleaf Centre visual by Nightingale Associates, Project Architects

Whiteleaf Centre visual by Nightingale Associates, Project Architects

I was commissioned in November 2012 by Tom Cox, ‘Artscape’ Project Manager for Oxford Health, to develop artwork for glazing and walls which could also work as way finding. This was achieved via digital printing onto optically clear vinyl and vinyl wall covering by Guardian Glazing Films and their sub consultant Bonwyke.

Detail: Digital print on optically clear vinyl. Cafe & Waiting Area

12th February 2014. Detail: Digital print  on optically clear vinyl. Finally installed in the Cafe & Waiting Area

 

The project was influenced by its site history, firstly as a private residence called Manor House and an archive publication from the Centre for Buckinghamshire Studies, which listed in detail, the contents of the house & garden from its sale at the turn of the Century. The house & grounds eventually transformed into Manor House Hospital, which was completely demolished for the new build.  I was also really intrigued by the Ecological Assessment of the former Hospital site which was produced by Capita Symonds for Kier Build in 2011 which referred to the original seed bank of the site being present still in the spoil heaps of the demolition.

Text from the Ecological Assessment of the site carried out by Capita Symonds for Kier Build in 2011

Text from the Ecological Assessment of the site carried out by Capita Symonds for Kier Build in 2011

BLUE TEXT A1 _Page_04

Detailed descriptions of the gardens and their contents were contained in the sales particulars of the original Manor House

Detailed descriptions of the gardens and their contents were contained in the sales particulars of the original Manor House


BLUE TEXT A1 _Page_02

 

A list of animals and insects identified through study or anecdotal evidence as being either resident or visitors to the site.

A list of animals and insects identified through study or anecdotal evidence as being either resident or visitors to the site.

The artworks are presented as a series of interlinked vistas and quiet spaces which carry references to the site through the interior of the building.  The images also to the influence that gardens, nature & the natural world has within the understanding and treatment of acute mental health. One of the aims of the new building is to provide gardening opportunities for service users to grow things and to provide quiet outside spaces where people can be surrounded by planting and seasonal change.

Early concept visual of a garden with planted borders and tree

16th May 2013. Early concept visual of a garden with planted borders and tree

Draft design for the Cafe & Waiting room

23rd October 2013. Draft design for the Cafe & Waiting room

Draft design work for the Entrance Corridor glazing

Draft design work for the Entrance Corridor glazing

Draft designs in progress for the 4 Ward Hub areas

24th October 2013. Draft designs in progress for the 4 Ward Hub areas

17th May 2013. Many site visits enabled a continuing dialogue to be had with staff and the project team.

17th May 2013. Many site visits enabled a continuing dialogue to be had with staff and the project team.

3rd December 2013 - Final iconography signed off and building detailed designs ongoing.

3rd December 2013 – Final iconography signed off and building detailed designs ongoing.

3rd December 2013 - Detailed design for Entrance Corridor artwork is approved -

3rd December 2013 – Detailed design for Entrance Corridor artwork is approved –

12th February 2014 - Some vinyls installed, some small revisions and snags to resolve with the print.

12th February 2014 – Some vinyls installed, some small revisions and snags to resolve with the print.

 

12th February 2014 - Site meeting to review first batch of installations. Print detail really good.

12th February 2014 – Site meeting to review first batch of installations. Print detail really good.

 

12th February 2014 - installation started.

12th February 2014 – installation started.

 

12th February 2014 - meeting in the Cafe & Waiting area to review first installation sequence.

12th February 2014 – meeting in the Cafe & Waiting area to review first installation sequence.

12th February 2014 - Meeting Room glazing partially installed. One panel of glazing is cracked - so installation now delayed here for several weeks.

12th February 2014 – Meeting Room glazing partially installed. One panel of glazing is cracked – so installation now delayed here for several weeks.

12th February 2014 - Detail of Meeting Room window.

12th February 2014 – Detail of Meeting Room window.

12th February 2014 - some windows have text referencing the former house on the site set in a maelstrom scribbled line.

12th February 2014 – some windows have text referencing the former house on the site set in a maelstrom scribbled line.

25th September 2013, Final artwork approved for project. Meeting Room & Cafe Waiting Area

25th September 2013, Final artwork approved for project. Meeting Room & Cafe Waiting Area

9th December 2013 - Ward Hub designs approved for print.

9th December 2013 – Ward Hub designs approved for print.

9th December 2013 - Ward Hub 'A' approved for print.

9th December 2013 – Ward Hub ‘A’ approved for print.

 

 

2nd December 2013 - Ward Hub 'D' approved for print.

2nd December 2013 – Ward Hub ‘D’ approved for print.

2nd December 2014 - detail to corridor artwork has printed incorrectly. The vixen is meant to be surrounded by an opaque cloud. This elements spans several panels, so is a pain to have to re-print. I actually quite like the effect - wish I had left is as it was!

2nd December 2014 – detail to corridor artwork has printed incorrectly. The vixen is meant to be surrounded by an opaque cloud. This elements spans several panels, so is a pain to have to re-print. I actually quite like the effect – wish I had left is as it was ! – but the coral colour tree on the right has also printed incorrectly – so the whole lot has to go.

2nd December 2014 - Detail - small violet at the base of the Meeting Room window.

2nd December 2014 – Detail – small violet at the base of the Meeting Room window.

 

 

 

Central Chelmsford

This is the development as seen from  the southern edge of the site, looking north.

This is the Central Chelmsford development as seen from the southern edge of the site, looking north.

Draft designs for granite inset text to York stone steps & cnc routed text to timber seating of 'The Steps' at the southern end of the site.

Draft designs for granite inset text to York stone steps & cnc routed text to timber seating of ‘The Steps’ at the southern end of the site.

The Central Chelmsford development has been in progress on site since 2012.  I was commissioned to join the team as project artist in January of this year.

The integrated project team is made up of :

Client: Genesis Housing Association. Main Contractor: Denne. Project Managers: Bidwells. Architects: PTEarchitects. Landscape Architects: Area Landscape Architects. Arts Consultant: Frances Lord

You can hear more on the project via this link: http://www.youtube.com/watch?v=orYUpbnacis

The site has a number of key buildings which were once a part of of Anglia Ruskin University. 507 new homes as well as retail and offices will make up the new development. The project is delivering a new community in Chelmsford.

One of the most historic & resonant as well as the earliest buildings on the site is the Grade II listed Anne Knight building, a former Friends Meeting House from 1824. Named after one of Chelmsford’s most distinguished women, Anne Knight 1786 – 1862. Anne Knight was a Quaker and a stalwart Anti Abolitionist, attending the World Anti Slavery Convention meeting held in London in 1840. Her views and correspondence on women’s rights led to her publishing what is considered to be the very first leaflet on women’s suffrage in 1847.

I have also responded to the landscape plans and architectural flow  & rhythm of the site as well exploring how the various elements  & spaces of the site are navigated and used by pedestrians. As the hub of a new community, the communal areas of the development are important places for people to take ownership of.

As well as collaborating with the project team I am also working and collaborating with several manufacturers and specialist contractors such as Hardscape, Ashfield Ltd & City Squared on elements of paving, seating and steps throughout the site, where interventions will be made via cnc routed text into timber and water jet cut and sandblasted granite.

I am working with City Squared in Leeds to develop the bespoke timber seating as well as to perfect the cnc routed text applied to the the timber.

I am working with City Squared in Leeds to develop the bespoke timber seating as well as to perfect the cnc routed text applied to the the timber. I have most recently been in discussions with a typographer to ensure that all the text is delivered with clarity and distinction.

Draft visual for proposal to sandblast detail onto a large granite platform seat.

Draft visual for proposals to sandblast detail onto a large granite platform seat.

An aerail view of the site which sits adjacent to the railway line

An aerial view of the site which sits adjacent to the railway line – outlined here in red.

Black brick curving facade of The Gate which forms the key elevation on site

Vertically set, black brick curving facade of The Gate which forms the key elevation & gateway on site

Draft scope for timber seating and granite detailing within The Place

Detail: Plan drawings & draft scope for timber seating and granite detailing within The Place

There are a number of brick built tree planters within The Place. Several of them have timber seating detailed as part of the artwork scheme. This large timber platform seat with longitudinal timbers will have text added via cnc routing.

There are a number of brick built tree planters within The Place. Several of them have timber seating detailed as part of the artwork scheme. This visual for a  large timber platform seat with longitudinal timbers  is still in development. It will also have text added via cnc routing. Visual by City Squared.

Draft text to York Stone double step risers with timber seat

Draft: Granite text to York Stone double step risers with timber seat

Draft visual of The Steps, with inset text to York Stone risers and digital manifestation to the glazed curtain wall.

Early draft  visual – an elevation drawing of The Steps, with inset granite text to York Stone risers and digital manifestation to the glazed curtain wall.

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

The installation of the Heart of the Campus West Elevation ‘Drawing’ artwork was started on site in November 2013 & is nearing completion.

Project Outline

The images all relate to an external artwork created for a section of the Western Elevation of the Heart of the Campus building, which faces onto Broomgrove Rd in Sheffield.

The Heart of the Campus building has been commissioned by Sheffield Hallam University. The project is being delivered on site by GRAHAM, along with Architects HLM and Project Managers Turner Townsend.

Up on the scaffold, details start to emerge.

Up on the scaffold, details start to emerge.

This elevation functions as a façade rain screen of grey colour-coated 10mm thick panels, manufactured by Rockpanel. It is proposed that the artwork will be formed via cnc routing of this surface, which will expose the base material to a depth of 2mm. When routed, the exposed base material is a greenish yellow, which eventually weathers to a rich brown colour over several weeks.The panels will be invisibly fixed to the sub-base frame & have a joint width of 5mm.

The themes explored in the work are conveyed through dynamic mark making and linear drawing evoking the history of cutlery manufacture in the city and techniques associated with printmaking, engraving, chasing and the evidence of the individual maker. These methodologies have found their way into every nook of the manufactory in Sheffield.

The narrative artwork forms an abstract landscape which can be read either as a vertical landscape or in plan, rather like a map, with forms and shapes redolent of topography, maps, rivers, trees & clouds.

I am working in collaboration with the project team, but more particularly with Mark Durey and his team at The Cutting Room, a company specialising in cnc routing, based in in Huntingdon, Cambs. The cnc process is used here on an architectural scale to create a dynamic façade as a backdrop along Broomgrove Road. They were brilliant to work with and brought so much more to the project than I anticipated. This is the art of collaboration and an excellent project team as previously mentioned, in Sheffield Hallam University, Graham Contractors & HLM Architects.

Contextual studies & rationale behind the design

Chasing & Engraving, Scales & Hafting, Red Deer, Elephant & Samba.

Samples of Samba and red Deer antler used in the cutlery industry.

Samples of Samba and red Deer antler used in the cutlery industry.

I was keen from the outset to explore a site-specific response to the project brief. With that in mind I have been researching the many collections and archives housed by Sheffield Museums and Libraries. I am particularly drawn to the history and manufacture of cutlery in the city. Individuals such as Ken Hawley & the wonderful Hawley Collection at Kelham Island, have made enormous efforts to preserve this legacy.

His keen focus upon the tools of manufacture draw you inexplicably to those individuals directly involved in the process of making & the evidence of the hand crafted & extraordinary skills upon which the wealth of the city was based.

From around 1840 onwards John Watson, a local builder & developer, sponsored the development of an area around Collegiate Crescent. The site was laid out with villas and landscaped in the Gardenesque style. The area rapidly began to house the families of prosperous local industrialists. Many cutlery manufacturers were among them. The area was a draw for wealthy and successful manufacturers from Sheffield – steel & file makers, cutlery manufacturers, printers & publishers.

These are amongst the influencing threads and themes I have worked with.

George Wolstenholme, one of Sheffield’s greatest cutlery manufactures, Master Cutler & owner of the famous Washington Works, built nearby Kenwood House around 1845 with the estate designed by the garden designer Robert Marnock, who also laid out the adjacent Botanic Gardens in the Gardenesque style.

Over the 20th Century much of the area has seen a transition from private residence to educational use primarily by Sheffield Hallam University. The City of Sheffield Teacher Training College was founded on the Collegiate Crescent site in 1905. For the next 60 years or so, the College produced its own publication, The Crescent Magazine. For a long period, the magazine and its frontispiece, was illustrated with linocuts, woodblock prints and other hand tooled printmaking techniques. The effects were dynamic – instant – and very much evident of the hand made. It is unclear whether students or local artists produced the prints, but many of the illustrations are of Collegiate Buildings still extant on the site – and tell stories of events and people directly associated with the College.

This is a linocut front cover of the Collegiate Magazine of 1958

This is a linocut front cover of the Collegiate Magazine of 1958

The artisan skills extended to sales catalogues & product merchandising. Promotional materials were produced and published locally. The publisher William White lived on Collegiate Crescent in 1861. The printed works of Loxley Brothers & Pawson & Brailsford are much in evidence. The Archives and Collections of Sheffield, including the Hawley, hold many such catalogues – printed locally and beautifully engraved onto copper plates mounted on boxwood by craftsmen with exquisite drawings of knives, forks, files, tools of every variety for distribution to all ends of the earth.

Trade went both ways – with materials arriving into Sheffield from the Empire over. Principally to furnish handles for cutlery manufacture and scales and hafting materials for knives and other cutting tools, the quantities were immense and the sources exotic. Ivory, Mother of Pearl, Brazilian Rosewood, Narwhale, Samba Antlers, Black Buffalo Horn and even Giraffe Bone. In 1878 the storerooms of Joseph Rodgers & Sons held 26 tons of ivory – 2,561 tusks or the equivalent of 1280 Elephants!

During the 19th Century this type of production was a repetitive, highly skilled, hand led process often carried out by small family businesses. The Hawley Collection at Kellam Island is the most amazing resource and repository for the manufacturing minutiae, machinery and hand tools associated with this trade throughout its history. Handling tools worn by use to perfectly fit the makers hand and opening boxes filled with the by products and blanks of a process which may have ended with a Stag Horned carving knife for example is wonderfully evocative.

Without the dedication of people such as Bert Hawley and his team of extraordinary volunteers, this legacy may have been lost to the City, which was for centuries the centre of cutlery manufacture in the country. The heart of the collection is not in its variety or depth or the fact it captures the sheer scale and grinding hard work of production. It is in the hands of its myriad makers that it comes alive. Handling tools, which have probably made millions of repetitive movements over a working lifetime is both powerful & moving. The collection is a vital research tool, drawing both academics and artists to it.

John Ruskin and the Guild of St George – a love of nature, close observation curiosity and drawing –

The visual narrative is extended at other points around the building, most notably on the high glazed curtain wall of the East Elevation Main Entrance facing onto Collegiate Crescent. Here, the bold graphic forms and iconography of the West Elevation respond to the light and open glazed ground floor elevations with a similar language but a much lighter touch, executed in softer, opaque & transparent layers of imagery which first appear as if sandblasted.

To enter the building one has to pass through this ‘veil’ of layered imagery, again exploring the themes outlined above. On bright & sunlit days, these digitally printed surfaces may cast intricate & delicate shadows across the floor of the entrance areas, quietly reminding us all of the continuity and evidence of history surrounding the University, the site and its use.

West elevation awaiting rain screen installation.

West elevation awaiting rain screen installation.

Scaffolding up - installation in progress

Scaffolding up – installation in progress

Rains screen cnc 'drawing' is now clearly visible.

Rains screen cnc ‘drawing’ is now clearly visible.

High up on the scaffold the artwork is very clearly seen.

High up on the scaffold the artwork is very clearly seen.

Routed Rockpanel detail is emerging

Routed Rockpanel detail is emerging

 

Scaffolding has mostly gone & the installation nearly completed.

Scaffolding has mostly gone & the installation nearly completed.

West Elevation

Details of cnc routed 'mark making' to evoke history of printmaking in Sheffield.

Details of cnc routed ‘mark making’ to evoke history of printmaking in Sheffield as well as suggesting the local topography

 

A clear water day in Margate. Margate Steps revisited.

On 9th May 2014, the Margate Flood & Coast Protection Scheme, aka the Margate Steps will have been officially opened for a year. It is rewarding to see that:

1. The sea defence works are working !…the storms over winter clearly tested the engineering.

2. That the wonderful amenity space we envisaged (over and above its primary function as a sea defence works) would have become such an addition to the Margate sea front environment. I will be posting images and text from the project’s history over the coming weeks.

It was an amazing project to be involved with. I promised myself I would swim off the steps at high tide to celebrate the opening. I missed my opportunity, so am trying again ! Look out for the guy in a wet suit trying hard not to look cold !

A video of Margate Steps can be seen here on its official opening day on 9th May 2013.

Winner: The project was awarded the ‘Community Award’ at the Institution of Civil Engineers (ICE) South East England Engineering Excellence Awards 2013. This award is for schemes, which deliver their engineering objectives whilst achieving secondary benefits for the surrounding community.

I think we can safely say that Margate Steps has benefitted the community.

The blue text outlined below formed a much larger visual narrative prepared to support & inform the designs for the sea defence works. It is made up  of historic, anecdotal and real time events which occurred along the length of the new sea defences.

Mr Brown led the donkeys on Margate Sands for years...

Mr Brown led the donkeys on Margate Sands for years..The blue text images

TOPOGRAPHIC TEXT BLUE 1 _Page_02

The scale of the new public realm and amenity space which the new steps provided can be seen in the aerial images.  Image by Simon Moores

The scale of the new public realm and amenity space which the new steps provided can be seen in the aerial images.
Image by Simon Moores

The scale of the amenity space and public realm which the new sea defences have brought to Margate can be appreciated in this aerial image by kind permission of Simon Moores.

The scale of the amenity space and public realm which the new sea defences have brought to Margate can be appreciated in this aerial image by kind permission of Simon Moores.

A clearwater day on 9th May 2013 when the project was officially opened.

A clearwater day on 9th May 2013 when the project was officially opened.

A clearwater day for the official opening of the project on 9th May 2013

A clearwater day for the official opening of the project on 9th May 2013

 

Station Quarter North, Southampton

On Tuesday 29th April I travelled up to Hipperholme, Halifax to meet with Dave Lowe of Hardscape who is delivering a major feature of the Station Quarter North Project.  – ‘Canal Shore’ is a 174m long linear artwork in black basalt which forms the kerb and pavement edge along Blechynden Terrace. The work is inset with text in contrasting light grey granite.

Hardscape are working with their sub contractor, Scribble Stone who specialise in water jet cutting.

Image

This work is an element of a much larger public realm project around Central Station which I am working on in collaboration with Balfour Beatty Living Places, CH2M Hill, Southampton City Council and Lighting Consultants Michael Grubb Studio. This project is in turn part of a wider a transport interchange programme reviewing pedestrian and traffic flow around the Station principally on an East to West axis.

2014-04-29 13.41.31

 

 

Scribble Stone, Halifax

Scribble Stone, Halifax

 

 

 

 

 

'Emperia Buildings'

Tensile Screen, Central Concourse, Jubilee Building, Musgrove Park Hospital

The Jubilee Building Central Concourse Project at Musgrove Park Hospital has now completed on site and the new surgical building was fully opened on 7th April 2014.

This art commission was led by Steven Power, Senior Project Manager for Capital Projects at Musgrove Park Hospital, Taunton along with Architects BDP and Contractor BAM. Specialist contractors Architen Landrell, Metafab Solutions Ltd and Digital Printers VGL were all integral to the success of the design & production. Bronwen Gwillim, formally Art Co-ordinator of Art for Life at the Hospital initially led the commissioning and early stages of the art project in 2012, and handed over to Lisa Harty in her new role as Arts Co-ordinator to oversee its completion.

The tensile artwork, funded by the Heritage Lottery celebrates the completion of the Jubilee Building as well as commemorating the 70th Anniversary of the Hospital originally founded as a US Field Hospital in World War Two.  I worked with the Hospital archive and the archivist Louise Donovan as well as bringing my own experience to bear, having been associated with the Hospital for the last 7 years and Lead Artist on a number of projects.

Final Artwork for the front elevation of the screen.

Final Artwork for the front elevation of the screen.

A library of images was built up with which to collage the artwork. These individual motifs all have a part of the visual narrative to present.

A library of images was built up with which to collage the artwork. These individual motifs all have a part of the visual narrative to present.

Detail: draft artwork

 

Installation in progress in Central Concourse

Installation in progress in Central Concourse

Detail: draft detail for tensile screen

Detail: draft detail for tensile screen

Tensile Screen as seen from from Level 1of Central Concourse

Tensile Screen as seen from from Level 1of Central Concourse

Tensile frame under construction by Metafab Solutions Ltd working for Architen Landrell

Tensile frame under construction by Metafab Solutions Ltd working for Architen Landrell

Tensile frame in construction by Metafab Solutions Ltd

Tensile frame in construction by Metafab Solutions Ltd

 

 

Tensile frame in production by Metafab Solutions Ltd

Tensile frame in production by Metafab Solutions Ltd

Tensile frame under construction by Metafab Solutions Ltd

Tensile frame under construction by Metafab Solutions Ltd

Digitally printed tensile fabric being processed for panel assmbly at Architen Landrell

Digitally printed tensile fabric being processed for panel assmbly at Architen Landrell

photo 3

Digitally printed tensile fabric produced by VGL in Reading, being prepared for panel assembly at Architen Landrell

Tensile screen installation in progress.

Tensile screen installation in progress.

 

 

 

‘1479 plates’. Combe Down Stone Mines.

COMBE DOWN STONE MINES – BATH

‘1479 plates’ Bone China Installation.

This project was commissioned in 2009 as part of the wider arts commissioning programme associated with Combe Down Stone Mines Stabilisation Public Art Project.

Commissioned by Bath & North East Somerset Council

Project Managers: Provelio, Engineers: Scott Wilson & Hydrock,  Arts Consultants: Frances Lord & Steve Gelliot

Project Collaborators: ‘Autonomatic’ – The Digital Research Centre at Falmouth University,  Digital Ceramic Systems Ltd,   Oxford Archaeology.

The work was installed at The Octagon, Bath from –
christopher-tipping-1479-plates-combe-do-104412

‘Bransholme Seed Cloud’. Winifred Holtby & Tweendykes Schools

‘Bransholme Seed Cloud’

The area around Bransholme has been farmed, cultivated, reclaimed & regenerated slowly over a period of 1000 years. In 1966 the green landscape of ditches & fields was to change dramatically & radically with the building of the new satellite town of Bransholme, now home to over 30,000 people.

The area is still rich in its bio-diversity. The streams, ditches, drains & dykes which dissect Bransholme & its surrounding land provide habitat for a diverse flora & fauna.

At the very heart of Bransholme stands the new Winifred Holtby Secondary and Tweendykes Special School.

This project was inspired by the locality and its rich history and topography. It was equally driven by the relationship which developed within the project team, which included both Head Teachers.

The artwork was digitally printed onto optically clear vinyl & applied to the curtain wall glazing, which spanned both school environments at Winifred Holtby & Tweendykes Schools. It was manufactured & installed by Artworks Solutions Ltd. The new Schools are part of a ‘Building Schools for the Future’ initiative.

Client: Esteem Consortium, Morgan Sindall & JM Architects with Art Consultant Andrew Knight.
christopher-tipping-bransholme-seed-clou-147028

Draft for the Winifred Holtby School

Draft for the Winifred Holtby School

Tweendykes School artwork draft

Tweendykes School artwork draft

Draft detail of all  iconography set into the maelstrom cloud.

Draft detail of all
iconography set into the maelstrom cloud.

This is a sample of all the elements which were drawn up to provide the visual narrative for the project. The all have a specific meaning to the project.

This is a sample of all the elements which were drawn up to provide the visual narrative for the project. The all have a specific meaning to the project.