I came to Coventry as a visitor … I left it as a friend.
In November 2020 I made a submission via Creative Giants & Coventry City Council for a public art commission to be installed on the architectural glazing of the amazing Grade II listed Coventry Station using digitally printed glazing vinyl. The artwork would be created in response to the Coventry City of Culture 2021 celebrations. What a brilliant thing to be involved with!
Image: Christopher Tipping
I was very excited to make this shortlist – and was then asked to develop some of the draft ideas submitted with the application before the final artist selection was made. On 18th December I sent myself to Coventry, a day return by train from my home in Ramsgate. There was no option, I had to see it for myself.
Coventry Station – first contact 18th December 2020. Image: Christopher Tipping
We may not know it or acknowledge it, but we all store impressions of places we have been. We intuitively know how a place makes us feel. We can learn how to navigate from A – B via landmarks rather than signage. Feeling our way around. Buildings, the curve of a street – the shape of a tree, the colour of a door, sounds and smells, a wobbly flagstone. I have been ‘looking’ at places in this way for thirty years or more. It’s a habit now, unselfconscious & automatic, creatively surveying spaces, unpicking and unravelling.
Coventry Station Terrazzo Concourse. Image: Christopher Tipping
This isn’t an academically critical or formal process, it is an emotional and personal one. You follow your nose. I follow mine. Seeing & feeling the shape, colour and texture of places. Cherry-picking images – a personal choice, but it starts to build an original visual language with which to understand & express for myself what makes a place interesting. I’m not looking for rights and wrongs either. I am simply fascinated by the way places communicate. Authenticity is hard to find. We live in a global and increasingly
I see patterns in everything. I am fascinated by pavement and pathways – I really am! – I see the history trodden into granite kerbs, threshold slabs, door handles. I notice the craft of buildings, no matter how grand or lowly. The hand of a maker. I see how people take pride in their place of work, their home, themselves.
Image: Christopher TippingCauliflowers on display at Coventry Central Market. Image: Christopher Tipping
The celebration of our skills as makers and creators.
I explore on foot. I can’t drive. I seek out what is hidden and forgotten. I see the connections between things past and present. I like the backstreets and the secret places. Curiosity is a sharpened tool of my trade.
The trigger for a project is often a detail, a small thing, something out of the usual. It may be the people, the community who live and work. It is often a combination of several strands coming together, weaving a new narrative – telling a new story. Being a visitor, I will see things differently than if I lived there. Experiences will be novel, bombarded by difference. I will try to connect and talk to people if I can. I cover a s much ground as possible on foot – this way you see the minutiae. I visit archives and museum collections. It is an immersive process. My work is process driven. By that I mean I have to be doing something in order to discover what I am doing, or what I am looking for. I never start with an idea and try to make it. I have a client brief, with a set of parameters outlining desired outcomes. My impressions of places before I visit them or often at odds with the reality of seeing them for myself. I’m like a sponge in these situations, trying to soak up as much as I can. Shaking off what I already think I know about a place is critical. It can be overwhelming having to sift through everything that comes my way – but the things that resonate and stay true and uppermost in my mind eventually begin to coalesce and form the foundation of a start.
What did I know about Coventry? WWII Bombing. The Cathedral. ‘Being sent to …’, Midlands accent, I have visited Coventry previously, it may have been as a student. I have no recall of the Station. We may have come by coach. I do remember the Cathedral, but not in detail. It was probably the reason we came.
RR Amphitheatre Public Art Proposals – Bespoke Letter ‘B’ in Honed Granite or Porphyry + Laser Etch – 400mm High x 30mm thick. Image: Christopher TippingRR Amphitheatre Public Art Proposals- Bespoke Letters 200221 Christopher Tipping
The proposals for the PCC Amphitheatre Steps and Seats are currently being considered by the client. In the meantime I am working up some drafts for the use bespoke highly detailed letters in a variety of materials ranging from granite and natural stones, to cast iron, enamelled steel, glazed architectural faience and Terrazzo. These letters will be fixed into the rebated text detail within the cast concrete seat riser, which will be 450mm high. Each bespoke letter can be 400mm high. The depth of the rebate will vary from 5mm to 30mm, however, the bespoke letters will all be best at 30mm deep, keeping them as robust as possible.
RR Amphitheatre Public Art Proposals- Bespoke Letter ‘O’ in Glazed Ceramic with Laser Etched Polished Granite inset detail – 400mm High x 30mm thick. Image: Christopher TippingDetail: PCC Amphitheatre at Rochester Riverside by LUC – Public art proposal for bespoke letter ‘O’ in architectural glazed ceramic with laser etched polished granite inset detail – 400mm high x 30mm deep. Image: Christopher Tipping
RR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ in Scratched Polished Stone with Laser Etched detail – 400mm High x 30mm thick. Image: Christopher TippingRR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ in Honed Granite or Porphyry – 400mm High x 30mm thick. Image: Christopher TippingRR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ repeated in a variety of materials and finishes – 400mm High x 30mm thick. Image: Christopher TippingRR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’s’ repeated in a variety of materials and finishes – 400mm High x 30mm thick. Image: Christopher Tipping
‘Under the Shadow of the Crane’ was initially an idea for a large scale granite ‘drawing’ to make up the pavement and public realm of the Crane Point site. Water jet cut granite slabs in two colours would form this extensive mosaic pavement, making permanent the ephemeral passing shadow of the crane, creating a physical memorial to the industrial heritage of the Riverside site.
Draft Plan drawing of granite paving ‘shadow’ mosaic to Crane Point. Image: Christopher TippingDetail: granite ‘shadow’ mosaic paving to the public realm at Crane Point. Image: Christopher TippingDetail: granite ‘shadow’ mosaic paving to the public realm at Crane Point. Image: Christopher Tipping
Part 2. ‘Under the Shadow of the Crane’ is actually a reference to the whole of Rochester Riverside, as for much of its post 20th Century history, it was dominated and defined by tall cranes, loading and offloading from the various wharfs. However, a single 200tonne crane was retained & moved to this new position at Blue Boar Hard as a landmark and heritage beacon. Our journey for Phase 3 starts here.
Crane Point is the name for the public realm and viewing point under the shadow of the crane. The landscape has been designed by LUC as an Amphitheatre with precast concrete stepped seating and concrete paving extending around and beneath the crane. A large Apartment block is being built adjacent to the public space, which will look out over the crane and the River Medway.
This plan of the concept development masterplanning stage for the Phase 3 development at Blue Boar Wharf, Rochester Riverside shows opportunities for possible Public Art intervention within the site. Image: Christopher Tipping
Children swam from here…Blue Boar Wharf was our playground…
A forlorn Blue Boar Pier as it was in 1970, from a viewpoint looking out over the River towards the Chatham Dockyard. Image: By permission of MALSC Artwork for the precast concrete Amphitheatre at Crane Point, Rochester Riverside Phase 3 Public Art Proposals. Image: Christopher Tipping
Crane Point – or Blue Boar Hard as it was called in its former life, is the end point of Blue Boar Lane, terminating with a Pier. It starts at its junction with Rochester High Street and the Blue Boar Public House (now demolished), leading under the railway tracks towards the river. At one time, the road split in two, with one track leading to the other side of Blue Boar Creek to James Hall & Son, Iron Foundry. Examples of their work can still be seen embedded into the pavements around Furrell’s Road. To the South of Blue Boar Creek, Blue Boar Wharf provided the river frontage for Barge Building. Up to 100 Medway Spritsail Barges were built here by William Higham. William lived on Victoria Street in Rochester and his wife had 9 children.
Plan of Crane Point draft artwork. Image: Christopher Tipping
William Higham was also notable as a signatory to a fascinating document signed by 251 individuals connected to the Coal Trade Port of Rochester trading from Rochester Riverside on February 10th 1876 petitioning the Mayor and Corporation of the City of Rochester to review the state of the roadway of Blue Boar Lane, which was in such a poor condition it was compelling commerce to land at Chatham and not Blue Boar Hard.
“ We the undersigned Ship Owners, Merchants, Captains and others connected with the coal trade of the Port of Rochester hereby beg to call your attention to the bad state of the roadway of Blue Boar Lane leading to the River Medway and considering the large amount of traffic now going to and from the River…the present state of the road being such as to compel many to land at Chatham who would otherwise do so at Blue Boar Hard…” MALSC
A document signed by 251 important people associated with Rochester Riverside petitioning for improvements to the condition of Blue Boar Lane to save their trade. By permission MALSC Draft artwork for paving with Cast Iron detailing at Crane Point. Image: Christopher TippingPlan of draft artwork for paving to Crane Point with inset cast iron interpretation units. Image: Christopher TippingPlan of draft artwork for cast iron paving unit at Crane Point. Image: Christopher TippingDraft artwork for cast iron paving units with text and pattern as interpretation. Image: Christopher TippingCrane Point PCC Amphitheatre – draft artwork for rebated text into the concrete step riser. Artwork: Christopher TippingCrane Point PCC Amphitheatre – draft artwork for rebated text into the concrete step riser. Artwork: Christopher TippingCrane Point PCC Amphitheatre – draft concept artwork showing rebated text cast into the concrete step riser. Artwork: Christopher Tipping
Rather a lot of variations on a theme are drawn up – this is a process of discovery after all. I am often looking for something elusive. I don’t always know what I am chasing after or trying to uncover. Much of this work proves unsuitable to produce, or doesn’t fit the client brief (or budget) but nothing really ever goes to waste. Ideas unused are tucked away for another time.
The rebated letters within the cast concrete stepped units very from 5mm to 30mm deep. This allows for some expression and emphasis to be placed on certain anchor words, important for the interpretation on site. The large coloured letters are proposals for bespoke, highly detailed individual letters made of granite, enamelled steel or architectural glazed faience. These will be inset and bonded into several of the 30mm rebated capital letters, inspired by historiated initials of Illuminated Manuscripts in the Library of Rochester Cathedral.
Crane Point – PCC Amphitheatre – draft concept artwork exploring ideas for rebated text cast into the concrete step riser. Artwork: Christopher TippingCrane Point – PCC Amphitheatre – draft concept artworks showing bespoke letters inset into the concrete step riser. Artwork: Christopher TippingCrane Point – PCC Amphitheatre – draft concept artwork showing rebated text cast into the concrete step riser. Artwork: Christopher Tipping
mmmm
Crane Point – PCC Amphitheatre – draft concept artwork showing rebated text cast into the concrete step riser. Artwork: Christopher TippingCrane Point – Plan of PCC Amphitheatre – draft concept artwork showing the areas of rebated text cast into the concrete step risers. Artwork: Christopher Tipping. Plan Drawing: LUC
This plan of the concept development masterplanning stage for the Phase 3 development at Blue Boar Wharf, Rochester Riverside shows opportunities for possible Public Art intervention within the site. Image: Christopher Tipping The 1898 OS Map overlaid with the new concept development proposals for Phase 3 on the Blue Boar Wharf Site. Image of 1898 Map by permission MALSC
I have had access to some amazing aerial images from Britain From Above. The following black and white images are so evocative and detailed, they tell a fascinating story of our site’s industrial and social history, nothing much of which survives today, except the large crane.
Rochester Riverside 1965 Aerial Image: By Permission – Britain From Above.Limehouse Reach, River Medway, looking towards Chatham. Rochester Riverside 1965 Aerial Image: With Permission – Britain From Above.
The above image from 1965 shows the Gasworks, Limehouse Wharf, Acorn Wharf (Shipbuildng) Acorn House, RMC Aggregates and Ready Made Concrete, Cory’s Wharf (Coal), Chatham Goods Yard (Railways), Blue Boar Wharf, Furrell’s Wharf – almost all the way to Chatham Intra. So much to be inspired by…
I am collaborating with LUC and BPTW who are leading on the architecture, masterplanning and landscape design.
I am continuing to develop the work I created for Phases 1 & 2 as the site has endless riches to be inspired by. My problem is knowing where to stop the research. Each stone unturned has golden threads to follow. Contextually, we are now on the site of Blue Boar Wharf, in its heyday a major Barge Building site, with two Yards, Upper and Lower occupied by two businesses – William Higham, ran the Upper Yard, where he built 100 Barges between 1876 and 1901 & George Weedon the proprietor of the Lower Yard.
Cory’s Coal Wharf and Gyproc Products as seen looking towards Rochester Cathedral. Rochester Riverside 1936. Aerial Image: With Permission – Britain From Above.
Above: Gyproc Products (Plasterboard), started production on the Rochester Riverside site in 1933, just 3 years prior to this images from 1936 (the large white shed in the centre of the picture). Cory’s Wharf, with its ‘5 Cranes Dancing’, is in the foreground.
Cory’s Coal Wharf, Gyproc Products and the Cattle Market. Rochester Riverside 1936. Aerial Image: With Permission – Britain From Above.
Above: The coming of the railways in the 1840’s effectively separated the town from its salt marsh grazing pastures and community centred around The Common. The Cattle & Livestock Market – seen bottom left in this image from 1936 has rooftop graphics – advertising its products – probably for the benefit of train passengers, as the track was raised on an earthen bank and brick viaduct. ‘Thorley’s Food for Cattle’, & ‘Thorley’s Food for all Stock’.
Cory’s Coal Wharf and Gyproc Products as seen looking towards Rochester Cathedral. Rochester Riverside 1936. Aerial Image: With Permission – Britain From Above.
Above: This Postcard must be a very early image of the site, as there appears to be no industrial development of the Riverside site.
There is a great short film on You Tube called the Medway Dock Crane, which show the Blue Boar Wharf site and the whole of Rochester Riverside, prior to development by Countryside as seen from a drone. Click on the above link to view.
By mid-December 2019, a number of the bespoke public art units (5 of 24) had been finally installed into the footpaths and thresholds of new properties along sections of Common Creek Wharf and Thalia Way. These parts of the site were fully occupied during the weeks leading up to Christmas. I will update as more units are installed –
Granite Unit ‘GOLDEN SAMPHIRE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘GOLDEN SAMPHIRE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘GOLDEN SAMPHIRE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘SHELDUCK’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘SHELDUCK’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping Granite Unit ‘SHELDUCK’ in progress at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. This was a really complex unit to achieve. Image: Hardscape EnglandGranite Unit ‘SHELDUCK’ in progress at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. This was a really complex unit to achieve. Image: Hardscape EnglandGranite Unit ‘WILLIAM CORY & SON LTD’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘WILLIAM CORY & SON LTD’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘WILLIAM CORY & SON LTD’ in progress at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Hardscape EnglandGranite Unit ‘WILLIAM CORY & SON LTD’ being laser etched during production at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Hardscape EnglandCast Iron Unit ‘5 CRANES DANCING’ installed at Rochester Riverside. Manufactured to my designs by Hargreaves Foundry. Image: Christopher TippingCast Iron Unit ‘5 CRANES DANCING’ installed at Rochester Riverside. Manufactured to my designs by Hargreaves Foundry. Image: Christopher TippingCast Iron Unit ‘5 CRANES DANCING’ installed at Rochester Riverside. Manufactured to my designs by Hargreaves Foundry. Image: Christopher TippingAbove: Concept Development Masterplan circa 2017, Rochester Riverside by BPTW. Below: Rochester Riverside 1936, Photograph by permission of Britain From Above.
Above: You may just be able to make out the ‘5 Cranes Dancing’...just below the CORY’S WHARF text . These cranes were eventually replaced by 2 x 200 tonne Cranes, each capable of lifting 10 tons at a time.
Granite Unit ‘WALRUS & NELLIE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘WALRUS & NELLIE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘WALRUS & NELLIE’ in prodution at Hardscape England prior to installation at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher TippingGranite Unit ‘ADA & EDITH’ installed at Rochester Riverside. Image: Christopher TippingGranite Unit ‘ADA & EDITH’ installed at Rochester Riverside. Image: Christopher TippingGranite Unit ‘ADA & EDITH’ during manufacture at Hardscape England and now installed at Rochester Riverside. Image: Christopher Tipping
This short creative contract to research and develop concept-led proposals for design interpretation and public art for Winchester Station Approaches has now completed.
Winchester Station and approaches 2019. Image: Christopher Tipping
This work was intended to inform discussion, dialogue and consultation with regard to the final form and feel for the public realm around Winchester Station. This form of placemaking based upon creative site analysis and creative research , which hopefully results in an original interpretation for the site, is essential to create a space fully responsive to its local environment and client & user aspirations.
Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping Artwork superimposed onto LDS plan. Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping Study with Key to concept & research led creative proposals for interpretation and public art with which to influence the design process for public realm at Winchester Station. Image: Christopher Tipping
Above: This draft study detail of the key to materials, finishes and 3D objects, is a concept only proposal and not intended as a final design. Its description of materials, forms and finishes is subject to further discussion and comment. with a future project team.
Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping Concept & creative interpretation studies for form and shape of seating, public art & interpretation for Winchester Station & Approaches. Image & Artwork by Christopher Tipping
High Altar of Winchester Cathedral. Image: Christopher Tipping
I had requested a meeting as a matter of courtesy, having visited the Cathedral several times previously during my research work for the Winchester Station Approach Project. It was important I met with Annabelle as I wished to discuss the possibility of collaborating with the Cathedral and particularly with the Stonemasons. Not only that, but I wished to know more about the Cathedral’s role in the community – an enormously broad subject, but nonetheless, one that I considered vital to understand the nature of its calling. It was of real interest to me to hear Annabelle talk about the Cathedral as a living place serving not only its faithful and local congregation, but everyone and anyone. A living and breathing building, actively engaging with and remaining vital to a worldwide audience in the 21st Century.
Winchester Cathedral Calling and Vision Publication. Image: Winchester Cathedral.
One outstanding calling is about welcome. In the Cathedra’s Calling and Vision document , emphasis is placed on welcome, access to all, hospitality and pilgrimage. The Cathedral Close is a haven for visitors and locals alike. The Station is also a Gateway to Winchester, so the same ethos ought to be present here in the public realm too, with an emphasis on welcome, and civic hospitality. A place of arrival and departure, a place of safety, a gateway and a welcome.
Marketing Manager Catherine Hodgson, then took me on a walk around the Cathedral and its outbuildings, including a visit to the stonemasons yard. Should the project progress to design stage, then I will certainly be advocating for a cross discipline collaboration with the Cathedral.
Carved stone head support from a 17th Century Memorial. Winchester Cathedral. Image: Christopher TippingA page taken from ‘ILLUMINATION’, showing an images of the 7th Century Anglo Saxon Alter Base. Development update from Winchester Cathedral ISSUE 17 – April 2019. Image: Winchester Cathedral The Forecourt of the British Library by Colin St John Wilson 1998. Image: Christopher Tipping
Timber carved roof bosses at the junctions of vaulted ribs in Winchester Cathedral. Image: Christopher TippingSarsen Stone W17 N in Winchester on the corner of Minster Lane and St Thomas Street. Image: City of Winchester Website Sarsen Stone W17 D, St John’s Church, St John’s Street, Winchester. Image: City of Winchester Website Sarsen Stones in Winchester. Image: City of Winchester Website
‘Sarsen Stones in Winchester’, from the website of The City of Winchester – these sandstone blocks, sought after as ‘markers’, are an inspiration for block seating at Station Approach…see below…
Studies for stone aggregate Roof Boss Benches with laminated stone or terrazzo additions. Image: Christopher Tipping
A number of industries, which Winchester supported, including Watermills, Brewing and Iron Foundries depended upon an immediate and plentiful supply of water. Winchester’s waterways brought wealth to the Cathedral.
Amongst these industries, several stand out as examplers –
Anatomy of a Millstone – General Reference. Image and Source: Wikipedia
Durngate Mill – demolished in 1966 after 700 years on the site.
City Engineering Works and Iron Foundry – Jewell Family of Middle and Lower Brook Street. Amongst other things the made components for the GWR Railways Winchester to Newbury Line. The family were also involved with Durngate Mill and the initials of Philip Charles Jewell appear on much cast iron work in the City.
The Waterways of Winchester-part2 – City of Winchester Trust News Spring 1995.
Elizabeth Proudman’s first article was published in the Spring 1994 Newsletter. She continues her story. Image: City of Winchester Trust
Above: This section of text by Elizabeth Proudman begins the report into The Waterways of Winchester.
Drawing of the River Itchen as it courses through Winchester. Image: Christopher TippingConcept study of the River Itchen as it courses through Winchester against a backdrop of flint. Image: Christopher TippingStudies for stone aggregate (terrazzo) benches with inset River Itchen detail. Image: Christopher TippingStudy for stone aggregate (terrazzo) bench with inset River Itchen detail & laminated contrasting stone end section. Image: Christopher TippingConcept study for architectural toughened glass & laminated bench with sandblasted and infilled River Itchen. Image: Christopher TippingStudy for architectural toughened glass laminated bench with sandblasted and filled River Itchen detail & contrasting aggregate flint end section. Image: Christopher TippingStudy for architectural toughened glass laminated bench – showing layers exploded – with sandblasted and filled River Itchen detail & contrasting aggregate flint end section. Image: Christopher TippingStudies for stone aggregate Bridge Benches with cantilever flint terrazzo addition. Image: Christopher TippingStudies for stone aggregate Bridge Benches with cantilever flint terrazzo or timber addition. Image: Christopher TippingStudies for stone aggregate column posts or perches with decorative motifs. Image: Christopher Tipping
My recent trip up to Hardscape at Logistics North near Bolton was a ‘more than hoped for’ brilliant success. This work was conceived with care, skill and emotion. I feel I can honestly say it has been manufactured with care, with enormous skill and equal amounts of emotion. This is what I want to be doing with my time! Achieving beautiful things, creating good work, working with great people. Focussing on craft and natural materials, on age-old skills of hand and eye, fused with technological innovation. I want to work alongside and collaborate with people who are proud of what they do and shout it from the rooftops. –
OK – so with that out of the way, let’s take a look at some of the day’s outstanding work.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: My good friend, the ampersand. ‘WALRUS & NELLIE’. Unit size – 900mm x 300mm x 75mm. More ‘Tales from Rochester Riverside’…
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Details of ‘ADA & EDITH‘ , 900mm x 300mm x 75mm with an inverted ‘WALRUS & NELLIE’. at top. Unit size – 900mm x 300mm x 75mm.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Details of ‘ADA & EDITH‘ , 900mm x 300mm x 75mm with a rectangular block of Carlow Limestone crisply laser etched with the name ‘ADA’ & inset into a slab of Porphyry. An inverted ‘WALRUS & NELLIE’ at top, was also sandblasted and inset with text – unit size – 900mm x 300mm x 75mm.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Eleven of the fifteen units being created up at Hardscape are visible in this image.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: At bottom, ‘DUNLIN A SALTMARSH BIRD’, with water jet cut, inset, laser etched and sandblasted granite – unit size – 1200mm x 400mm x 75mm . At top, an inverted ‘GOOZERS & WATERMEN’ – unit size – 900mm x 300mm x 75mm.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
The beautifully detailed DUNLIN in black Carlow Limestone is laser etched, then water jet cut from its slab and inset into the red Shiraz base slab. The letter ‘D’ is also water jet cut from green Kobra Granite and inset into both the red Shiraz and the Black Carlow, bonded in place with a golden yellow resin specially selected for colour. The letter ‘U’ and other visible text is sandblasted. This is highly skilled and complex work. Looks bloody amazing too…
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: ‘GOOZERS & WATERMEN’ is no less complex, with water jet cut and inset text in Maple Red Granite, inlaid into a Black Carlow Limestone base slab, which is in turn sandblasted with text and laser etched to two depths to create the rippling water effect. See images below.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: The laser etched text ‘Watermen’ on the ‘GOOZERS & Watermen’, panel is wonderfully delivered with a deeper etch to the centre and a delicate lighter etch to the outline. This attention to detail and finish it what makes these bespoke units so outstanding.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Detail of ‘SHELDUCK’, Laser etched bird motif on black Carlow Limestone, water jet cut-out and inset into a Kobra Green base slab. Letter ‘D’ is also water jet cut and inset. The other letters are sandblasted into the Kobra Green. Unit size – 960mm x 400mm x 75mm
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Details of ‘SHELDUCK’ & ‘PERENNIAL GLASSWORT’, just two of our 15 tales from Rochester Riverside. ‘SHELDUCK’, is a laser etched bird motif on black Carlow Limestone, water jet cut-out and inset into a Kobra Green base slab with large letter ‘D’ also water jet cut and inset. The other letters are sandblasted into the Kobra Green. Unit size – 960mm x 400mm x 75mm.‘PERENNIAL GLASSWORT’ is a red Shiraz slab base sandblasted to two depths for text and plant motifs. Royal White & Carlow Limestone letters have also been inset into the surface.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Detail of some of the letters of ‘PERENNIAL GLASSWORT’ sandblasted into red Shiraz granite.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: ‘MARSH COWS GRAZING’..& other tales from Rochester Riverside’ is Unit No. 8 in a sequence of 15 bespoke granite units along with 9 bespoke cast iron units together create a story about the history and use of this site from Medieval times to the present day. The slabs are robust and heavyweight, adding a physical presence to the narratives they embody. The lives and livelihoods of Rochester people are represented here. These histories live on in stone and cast iron.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Detail of letters ‘C’ & ‘O’, bot water jet cut and inset from Maple Red Granite and Porphyry respectively and inset into sandblasted Kobra green Granite.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above & Below: ‘BLUE BOAR CREEK’ & ‘GOLDEN SAMPHIRE’, 2 more Tales from Rochester Riverside. Large letter ‘B’ water jet cut from Maple Red Granite, inset into Black Carlow Limestone with laser etched detail.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: ‘GOLDEN SAMPHIRE’ still has the resin bond material smeared over the surface…the cleaned up version can be seen below.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: The large letter ‘S’ is water jet cut from black Carlow Limestone, which has beautiful white shell deposits within its matrix., which are wonderfully contrasting when wet.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above & Below: ’15 BARGES STARTED THE RACE’ & ‘RUSSET BROWN & OCHRE SAILS’. Both bespoke units exhibit great colour contrast and use of stone. Deliberate use of coloured resin bond to fix water jet cut motifs in place adds another dimension.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Detail of the red Shiraz base slab with sandblasted text into which is inset a 2 colour motif with Maple Red granite and Kobra Green, fixed with a coloured resin bond.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above and Below: ‘THE FIVE BROTHERS’ & ‘SPRITSAIL BARGE’, share a base slab of Porphyry, with sandblasted text and motifs. FIVE BROTHERS has the word ‘FIVE’ inset in water jet cut Maple Red, whilst SPRITSAIL has three letters ‘S’ ‘g’ & ‘L’ inset in Royal White for contrast.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above and images below: ‘COAL – METER HEAVER WHIPPER’ & ‘WILLIAM CORY & SON LTD COAL FACTORS’.2 Tales from Rochester Riverside…
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping
Above: Top slab – 1200mm x 400mm x 75mm – Crystal Black base slab with sandblasted text & water jet cut and inset Maple Red rectangle with additional inset text in Crystal Black. Bottom slab – 960mm x 400mm x 75mm – Black Carlow Limestone base slab with sandblasted text and motifs with water jet cut and inset Maple Red granite letters and motifs.
Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher TippingDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: HardscapeDetail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Hardscape
Wednesday 13th November was the day for the installation of my project in the Radiotherapy Unit. Swift Signs, who printed the work were also installing and their team did a great job.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of Clinic Room W003 . These windows have an over-layer of frosted vinyl applied to the optically clear vinyl to add privacy to this sequence of Clinical Rooms along a corridor. These windows face out on to an external walkway and open space opposite the Hospital Canteen, so the need for privacy was an important issue. The vinyl is still translucent, which means natural light can pass through it.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Above: Detail of Clinic Room W003
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of Clinic Room W002
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of Clinic Room W005 – Tech Services
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of Clinic Room W005 – Tech Services
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of artworks in Clothed Waiting Room CW02 (Reception). The artwork in this space is made up of transparent colour printed onto optically clear vinyl, which means it is effectively ‘see through’. This was a required detail here to allow the external landscape and as much light as possible to enter the space.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Detail of artworks in Clothed Waiting Room CW02 (Reception). The vinyl has an adhesive coating, but is ‘floated’ into position on the glass with a light spray of water, allowing for final positioning. A rubber squeegee is then used to remove excess water and any air trapped between the vinyl and the glass.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift SignsInstallation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: The External Lobby Entrance seen from outside at dusk, reveals the levels of transparency in the artwork. The impact is soft and subtle, allowing for clear views into the building. At nighttime, this effect becomes almost like stained glass.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift SignsInstallation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift SignsInstallation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
Above: Staff Meeting Room CW06. This room was overlooked by a raised footpath accessed by a flight of steps just outside the room, making privacy an issue. We kept the top set of windows free of artwork to maximise daylight and to bring the surrounding trees and landscape into the artwork as well.
Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift SignsInstallation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs Installation of Glazing Vinyl Artworks by Swift Signs at the Robert White Cancer Centre, Radiotherapy Unit. Image: Swift Signs
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 TippingWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweStone 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 TippingDetailed & 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 TippingBlack & white motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Image: Christopher TippingDetail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher TippingDetail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher TippingDetail: 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 TippingPier Section studies Winchester Cathedral. Winchester Station Approaches Project. Image: Christopher TippingConcept & 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 TippingDetail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher TippingBlack & 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 TippingA 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
