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.
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
I’m travelling up north to Bolton this week to see the final units completed and hopefully sign off the work so it can be delivered to Rochester Riverside for installation. Can’t wait to see them all.
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
Above: “BLUE BOAR CREEK”…& other tales from Rochester Riverside. Detail of a water-jet cut & laser-etched paving panel in black Carlow Limestone with inset text of Amarelo Real (yellow granite) & Porphyry.
These new images are just in this afternoon thanks to Mathew Haslam of Hardscape – as their skilled stone specialists focus on the applied detail. Water jet cutting, inlaying, sandblasting and laser etching their way through 15 bespoke units destined to be embedded into the landscape of the new housing development at Rochester Riverside for client Countryside.This highly bespoke work needs to be handled with care and demands high levels of craft skills.
Hardscape have been excellent at providing this form creative collaboration. Public Art Strategy & Artists Commissions by FrancisKnight .
Below: This unit is 9 of 15 – ‘SHELDUCK’, a Kobra Green Granite base slab with water jet cut inset motif & text in black Carlow Limestone, which has been laser etched with surface detail. Further sandblasting of text into the green granite, will complete the work.
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew HaslamHardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew HaslamHardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
Above: The almost completed ‘WILLIAM CORY & SON LTD’.
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
Above: This is the base slab of black Carlow Limestone, which has been laser etched first & then water jet cut – but the large letter ‘W’, the ‘&’ and the diamond motif have yet to be chiselled out. See Below –
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
Above: The water jet cutting removes a series of lines from the granite, which are determined by the CAD programme, which creates the cutting paths. These pathways are interesting in themselves as patterns, but in this instance they have to be chiselled out carefully by hand, to create the void space for the granite inlay to be fixed.
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
Above: This images shows the void spaces chiselled out from the Carlow Limestone. The letter ‘W’ in Maple Red granite has already been inset and is awaiting bonding in place – the diamond motif is just about to be inset. These images are wonderful for showing process, craft and the mix of skills from CAD technology to work by hand & eye.
Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew HaslamHardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew HaslamHardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew HaslamHardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam
A short post on patterns of paving, used externally in the City streets. These images are a simple & straightforward record of paving and materials used in highway engineering and the public realm in Winchester. What I am interested in is the variation and the happenstance, which occurs between pattern, materials and textures. The ordinary and mundane, boring ?…no ! Some richness and patterns emerge, often as a result of repair & regeneration. Interesting to note changes at thresholds and edges. Old and new side by side. They are perhaps not the most exciting of images – but for those of you who look down to see & care about what you are walking on – you too may also see something that inspires you, as I have been inspired.
Winchester Station. Paving patterns and materials used in Winchester. Image: Christopher TippingWinchester Station. Paving patterns and materials used in Winchester. Image: Christopher TippingWinchester Station. Paving patterns and materials used in Winchester. Image: Christopher TippingWinchester Station. Paving patterns and materials used in Winchester. Image: Christopher TippingWinchester Station Approach project. Station Hill. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Outside Winchester Museum. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. High Street. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in the streets of Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave LoweWinchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe
…and finally – all roads lead to the Cathedral.
Winchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe
In August all was ready for the casting of the iron units and off I eagerly trotted on the train up to Hargreaves Foundry in Halifax to be present during a famous ‘Casting Thursday’! – I have been up to Hargreaves only once before and Andrew Knight, Foundry & Patternshop Manager showed me around the factory at that time. Even though this was impressive, (& it is !) it couldn’t match being present to witness my own work being cast. It is such a physical, visceral process, fully hands on and dangerous with it. The skill & craft is astonishing and it is this legacy of making, which Hargreaves has in bucketfuls, that I wanted to design into the public art work for Rochester.
Rochester Riverside. Hargreaves Foundry. Image: Christopher TippingArtwork for Units 1 – 5 for cast iron production at Hargreaves Foundry in Halifax. Some units were cast twice. Image: Christopher TippingOriginal tooled pattern by Arthur Jackson after casting at Hargreaves. Image: Christopher TippingDetails of EASM 3D files used by Solidworks for cnc tooled pattern manufacture at Arthur Jackson & Co Ltd, Halifax. Image: Arthur Jackson Details of EASM 3D files used by Solidworks for cnc tooled pattern manufacture at Arthur Jackson & Co Ltd, Halifax. Image: Arthur Jackson Elements of cnc tooling & pattern production at Arthur Jackson & Co Ltd in Halifax. Image: Christopher TippingElements of cnc tooling & pattern production at Arthur Jackson & Co Ltd in Halifax. Image: Christopher TippingElements of cnc tooling & pattern production at Arthur Jackson & Co Ltd in Halifax. Image: Christopher TippingOriginal tooled patterns by Arthur Jackson after use in casting at Hargreaves. Image: Christopher Tipping
Nine cast iron units have now been made, from 5 original cnc tooled patterns manufactured to my designs by Arthur Jackson & Co Ltd, Halifax. These patterns, cnc tooled from a type of resin block are used to prepare the resin sand mould boxes used in the final casting process. The cast units are then hand finished through grinding and polishing methods.
Elements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher Tipping
Individual one ton iron weights are used to secure the moulds during casting, such are the pressures of heat during the process. The moulds are constructed from a resin infused black sand, which has been compacted around the master pattern, which is then removed.
Elements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher Tipping
What I can’t convey here is the noise, heat, smell & excitement of this process during the critical stages of casting. The experience is vivid and visceral. I am watching something being made which could last for hundreds of years.
Elements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher TippingElements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher Tipping
The units above and below have now been treated with Nitric Acid to prevent rusting through oxidation. The cast iron is almost black and the relief jumps out very cleanly.
Elements of cast iron production at Hargreaves Foundry in Halifax. Image: Christopher Tipping
‘Mr Gill showed me a very fine model of their barge Centaur, a 50-tonner built by Messrs. Gill & Son, specially for the 1899 Medway barge Race, in the astonishing time of 6 weeks.”
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
In his wonderfully evocative book ‘Spritsail Barges of Thames and Medway’, published in 1948, Edgar J March paints a highly detailed picture of Barge activity and life on the Medway. Many of these Barges started life in the boatyards of Rochester.
“Staunch and well built though a barge may be, each year sees a toll taken. Some yield at last to the cold embrace of the sea, whose caresses they have so long resisted, others steal quietly up some lonely creek to nose gently into the malodorous mud and settle down into their last berth, gradually to moulder away, forgotten by all save their one time masters, and perhaps, some sentimental fool like myself, who will gaze down on their rotting timbers and imagination see spars clothed with red-brown sails and hulls vibrant with life as they thrash there way round the Foreland.”
Describing the excitement and thrill of the Medway Barge Races – “The course was from Hoo Marshes to the West Oaze Buoy and back to the Sun Pier at Chatham, a distance of about thirty five miles…A strong easterly wind was blowing, and in Long Reach Verona’s bowsprit snapped off short, but the crew cleared away the wreckage and setting a jib topsail as a staysail, carried on to come sixth in their class.” Edgar J March.
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
Referencing a painting by T.B. Hardy, 1874, Edgar March goes on to describe the Medway as, “When this picture was painted, marine artists had little need to look for subjects. The Medway was alive with sailing craft : dainty little topsail schooners, picturesque collier brigs with apple bows and dingy canvas, barques from Scandinavia, bringing pine-scented timber from the Baltic to Rochester, and above all, barges innumerable, threading their way through the maze of traffic. One hundred a tide was no uncommon sight, and what a joy to a sail-lover that galaxy of russet, brown and ochre canvas must have been, many with various devices emblazoned on their mainsails – Lees’ stumpies had the white horse of Kent rampant on ebony coloured sails – all either hurrying down on the ebb or beating up against wind and tide. Now gone forever.”
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
…and “In those far-off days, watermen, or “goozers”, to use their riverside nick-name, plied their trade in skiffs”. Edgar J March
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
William Higham was born in 1838 in Lewes Sussex. On 27/10/1864 he married Fanny Elizabeth Blake in Strood, nr, Rochester. By 1881 they had 9 children.
William was a Barge Builder and they lived in a private house on Victoria Street, Rochester. The location of his Yard is show on the OS map of 1898 on Blue Boar Hard, just above the Pier. ADA & EDITH is just one of many barges built here between 1876 and 1901.
Detail of OS Map 1898 showing land prior to development as Cory’s Coal & Rail Depot & Wharf. Rochester Riverside Industry. Reproduced by Kind Permission of MALSC.
PROVIDENCE
FOX HOUND
MAID OF KENT
ANNIE & ALICE
CHARLEY BAKER
HERBERT & HAROLD
ADA & EDITH
ANSWERS
SILVER WEDDING
MABEL MAUD
VENTURA
FIVE BROTHERS
DOROTHY
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
‘WALRUS’ & ‘NELLIE’ were two portable conveyors owned by William Cory & Son, Coal Factors, at Cory’s Wharf, used for transporting stone aggregates from Barge to Train. These aggregates were known as Fines, Nuts & Cobbles.
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
“It has been my privilege to go over and see the marvellous machinery for loading and unloading coal. The five large cranes, when seen at work bowing their stately heads, look like dancers executing a minuet; …when in repose, standing like so many soldiers on sentry duty, with fixed bayonets. What a contrast to see the way a collier is unloaded by these cranes, as compared with the old coal whippers’ days! A coal boat seems scarcely to draw alongside the wharf before it is steaming away again”.Edwin Harris Guides to Old Rochester, Pub. 1930 No. 27 Part 1. (Ref: ROC. 942.23 HAR The Riverside. Harris/Edwin. MALSC).
Cory’s Coal Depot with 2 abandoned cranes from the original 5. November 1969. Black & White Photograph. Rochester Riverside Industry. Reproduced by Kind Permission of MALSC.
Detail of OS Map 1932 showing Cory’s Coal & Rail Depot & Wharf. Rochester Riverside Industry. Reproduced by Kind Permission of MALSC.
The five cranes were originally positioned along Cory’s Wharf on the far right hand side of the above OS Map of 1932
Detail of OS Map 1898 showing land prior to development as Cory’s Coal & Rail Depot & Wharf. Rochester Riverside Industry. Reproduced by Kind Permission of MALSC.
The earlier OS Map of 1898 records the same site some 30 years previously as Chatham Goods Yard. The site occupied by Cory’s Wharf is immediately below Blue Boar Pier along the HWMOT line.
Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping
Dunlin…A Salt Marsh Bird
‘The Medway Estuary is believed to be the most important area in North Kent for wintering wildfowl in numbers of international significance. The Saltmarsh serves as a roosting area for waders at high tide. Several scarce plant species include: golden samphire, perennial glasswort and one-flowered glasswort. The estuary is one of the best places in Britain for the study of glassworts. The grazing marsh has breeding and wintering birds of interest; the former include lapwing, redshank, pochard, mallard and gadwall, while in winter large flocks of may wildfowl and wader species are present.‘
Ref: Environmental Stresses and Resource Use in Coastal Urban and Peri Urban Regions. DPSIR Approach to SECOA’s 17 Case Studies.
These overwintering birds, along with thousands of others migrating or breeding species have been present on our site, however the numbers of Dunlin and other birds have undergone a decline, ostensibly to do with habitat loss and disturbance, which is of course of great concern.
