Tag Archives: Christopher Tipping

Installed !

They are finally in place! The architectural glazed screens have now been installed in the Hydrotherapy Pool room at the new RNHRD & Therapies Centre at the RUH in Bath.

 

Detail of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

On Tuesday 19th March 2019, the screens were carefully installed by SEH Commercial. The East Screen was installed in the morning and the North Screen in the afternoon. Proto Glass Studios delivered the 18 sealed units – a total of 42 sqm of decorated glass –  in two runs from their premises in Pewsey, Wiltshire. I couldn’t be there, which was a real disappointment, but the process was documented by a number of people on site. I am showing their images here.

There is still a fair amount of work to be done in finishing the new buildings, both inside & out, so for now and the foreseeable future at least, the glass will be covered by boards & protected. These are the last images we will see before the building is officially opened.

This project has been a great journey to make in collaboration with a wonderful project team. Hetty Dupays, director of Art at the Heart of the RUH who commissioned the work has been a most supportive project manager. Also a big thanks to Gina Sargeant, Head of Therapies & Clinical Site, whose direct and pragmatic approach was balanced by her humour. I could not have delivered this artwork without the input and advocacy of both these brilliant people. A massive thanks to all staff and patients from both the RUH and RHNRD (The Min), IBI Group Architects & Main Contractor Kier who collaborated throughout, and who offered their support and experience.

 

Detail of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail: External elevation of the North Screen from the Courtyard Garden. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

External elevation of the North Screen from the Courtyard Garden. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail of the topmost panels of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail of the topmost panels of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail of the lower panels of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail of the topmost panels of the East Glazing Screen, seen from behind the interior scaffolding. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail: External elevation of the North Screen from the Courtyard Garden. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail: External elevation of the North Screen from the Courtyard Garden. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Hetty Dupays standing in front of the East Screen. Hydrotherapy Pool, RUH. Image: Gina Sargeant

 

Hetty Dupays standing in front of the East Screen. Hydrotherapy Pool, RUH. Image: Gina Sargeant

 

The external wall elevations and frames are still in progress, as are the interiors and the Screens will be padded out and boarded up from today, to protect them during the remaining works on site.

 

SEH Commercial & Kier were responsible for the installation of the Screens. Stepladder & install team in front of the East Screen. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

External elevations of the East Screen. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail: External elevation of the East Screen. Hydrotherapy Pool, RUH. Image: Hetty Dupays

 

Detail: External elevation of the East Screen. Hydrotherapy Pool, RUH. Image: Hetty Dupays

Salisbury District Hospital 2006

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern

I am always trying to play catch-up with projects I completed prior to having any online platforms. Here we are, almost 13 years since its completion and installation and I have finally managed to track down a great set of images, which were commissioned by Tarkett Flooring (actually it was Tarkett Marley back in 2006). The images were originally commissioned by PR Firm Mainspring from photographer Ian Blantern of Blantern & Davis Photography.

Ian Blantern retrieved the images from his archive, for which I am really grateful.

Salisbury District Hospital 2006. Images Screenshot. Artist Christopher Tipping. Image: Ian Blantern

In 2004 I was commissioned by Peter Ursem, a former director of the Artcare Team at Salisbury District Hospital to collaborate with project team Architects, Chapman Taylor and Contractor Gleeson. The brief was to create bespoke flooring installations throughout the four levels of the new building, combined with creating interior colour schemes to assist in wayfinding and identity. I collaborated closely with Tarkett Marley Floors throughout the design and manufacturing period on sonic cutting and installation methods.

Salisbury District Hospital Phase Two 2006 Chapman Taylor Architects. Project Artist Christopher Tipping. Image: Ian Blantern

“The planned move of services from the older southern end of the Salisbury District Hospital site to a new modern purpose built facility took place in May 2006. The new building which was designed using the views of local people and staff houses the regional burns service, elderly care and orthopaedic wards. It also has an outpatient department with plastic surgery, maxillo facial outpatients, laser treatment centre and therapy services. This was the largest development seen on this site since Phase One of the hospital was built in1993 and means that these services now have natural links with the acute and diagnostic services in the newer part of the hospital. The new burns accommodation is situated on level four and has its own dedicated operating theatre. It is located near the Intensive Therapy Unit so that it can access critical care support for people with serious burn injuries. Orthopaedics has its own purpose built accommodation and this is located on level four of the new building close to main theatres. Plastic surgery and maxillo facial outpatients has its own department on level three, so that it links in with general outpatient and diagnostic services on the same level in the existing hospital. Medical and elderly wards are situated on level two, with two elderly care wards taking the vacated ward areas in the existing hospital that are next to the Nunton Unit, which provides physiotherapy. In designing the new building, the aim was to maximise natural daylight and ensure that patients in ward areas can enjoy excellent views across the Wiltshire countryside”. Salisbury NHS Foundation Trust

 

The designs were inspired by abstract forms in the Wiltshire landscape – ephemeral and or suggested elements as seen from the Hospital. This included ancient and historic man-made stone circles at Avebury and Sarum, crop circles, dew ponds, Fovant Badges, plough lines and field patterns. I also looked at Downton lace making, the architecture and decoration of Salisbury Cathedral and the flora and fauna of a chalk and limestone landscape. Engagement with staff and patients was also undertaken. The installations were made at major node points such as nurses stations, waiting areas, key vistas and in the window seating areas of the 4-bed bays. The patterns break up the generous expanses of floor, providing an element of surprise and distraction for patients and visitors alike. All floors share a limited catalogue of motifs, but these are expressed via individual and distinct colour palettes on each level. Levels 1 & 2 share an set of earth and terracotta tones representing chalk marls and ploughed fields. Level 3 uses shades of green reminiscent of summer and farmland and woods, whilst on Level 4, blues and lilac colours reflect shifting skyscapes.

 

Salisbury District Hospital 2006. Material & colour-ways sample boards. Artist Christopher Tipping.

 

What am I proposing?          

Looking at Wiltshire: A patchwork of pattern, texture and light

Designs inspired by man-made forms in the landscape –

Earthworks: Avebury – Old Sarum – Silbury Hill

Crop Circles

Dew Ponds

Chalk Drawings: Wiltshire Horses and Fovant Badges

Ploughing patterns

Field patterns

Designs inspired by local history, industry and architecture –

Downton Lace

Salisbury Cathedral

Medieval Ceramic Tiles

Romano British Mosaics

Celtic Patterns

Designs inspired by the unseen & ephemeral in the landscape –

The geology of Wiltshire

Fossils of the Chalk Downland of Wiltshire

Associated Flora and Fauna: Horseshoe Vetch and Adonis Blue

Fleeting expressions of light in shadow play

 

Salisbury District Hospital 2006, Level 4 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding – inspection during installation. Artist Christopher Tipping.

 

 

Salisbury District Hospital 2006, Level 3 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Level 3 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Level 3 colour way-finding – inspection during installation. Artist Christopher Tipping.

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006. Material & colour-ways sample boxes in progress at Clockwork Studios. Artist Christopher Tipping.

 

Research images taken at Salisbury District Hospital. Image: Christopher Tipping

 

Research images taken at Salisbury Cathedral 2004. Image: Christopher Tipping

 

Salisbury District Hospital 2006. Material & colour-ways sample box for Levels 1 & 2 in progress at Clockwork Studios. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Material & colour-ways sample box for Level 4 Burns Unit in progress at Clockwork Studios. Artist Christopher Tipping.

 

Research images taken at Salisbury Cathedral 2004. Image: Christopher Tipping

 

Salisbury District Hospital 2006, Level 4 colour way-finding – inspection & cleaning underway during installation. Artist Christopher Tipping.

 

Salisbury District Hospital 2006, Level 4 colour way-finding – inspection & cleaning during installation. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Production Drawings of bespoke motifs by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Production Drawings of bespoke motifs by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Waste Materials from manufacturing at Tarkett Marley factory, Lenham, Kent. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Production Drawings of bespoke motifs by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006, Level 4 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Sample Panel by Tarkett Marley. Artist Christopher Tipping.

 

 

 

Salisbury District Hospital 2006, Level 4 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Level 3 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Level 4 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography
Salisbury District Hospital 2006. Typical Production Plan Drawing of bespoke motifs & sites for Levels 1 & 2 by Tarkett Marley. Artist Christopher Tipping.
Salisbury District Hospital 2006. Detail: Typical Production Plan Drawing of bespoke motifs & sites for Levels 1 & 2 by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Typical Production Plan Drawing of bespoke motifs & sites for Level 4 by Tarkett Marley. Artist Christopher Tipping.

 

 

Salisbury District Hospital 2006. Typical Production Plan Drawing of bespoke motifs & sites for Level 3 by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006, Level 4 colour way-finding – inspection during installation. Artist Christopher Tipping.

 

2005, design stage consultation event. Artist Christopher Tipping.

 

2005, design stage consultation event. Artist Christopher Tipping.

 

Salisbury District Hospital 2006. Production Drawings of bespoke motifs for Levels 1 & 2 by Tarkett Marley. Artist Christopher Tipping.

 

Salisbury District Hospital 2006, Level 3 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006, Levels 1 & 2 colour way-finding. Artist Christopher Tipping. Image: Ian Blantern Photography

 

Salisbury District Hospital 2006. Material & colour-ways sample boxes in progress at Clockwork Studios. Artist Christopher Tipping.
Research images taken at Salisbury District Hospital. Image: Christopher Tipping

 

Research images taken at Salisbury District Hospital. Image: Christopher Tipping

 

Salisbury District Hospital 2006, Level 4 colour way-finding. Sample Panel by Tarkett Marley. Artist Christopher Tipping.

 

A beautifully crafted thing…

Chatham Placemaking Project – A beautifully crafted thing…

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

 

Since starting the Chatham Placemaking Project, I am proud and pleased that much of the work we have done has been wonderfully crafted.

Words can be beautifully crafted to capture the essence of meaning, or a point in time, the spirit of a place. Materials too can be made to speak and assembled with care into something meaningful and poetic.

The writer, filmmaker, designer and poet with whom I have worked and collaborated on the project have all brought experience, originality, humour to the table, but above all they have brought an ability to assemble what they know & what they have created into a beautifully honed and finished thing – a sentence, a film, a poem, a pattern.  These people are highly skilled. Andrew Lapthorn, a craftsman and furniture maker working from the Historic Dockyard has produced perhaps one of the most beautiful objects created for the project. His laminated Elm radius curved seat – part of a collaboration with me to create 6 granite and timber street benches – has now been installed at New Cut, Chatham, one of two radius timber seats.

 

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

Above: Granite & Timber street bench. Honed monolithic granite with stainless steel armrest by Hardscape.

Public spaces – especially those well trafficked, endure heavy duty wear and tear. These seats have been manufactured from robust and tough materials. This timber element was constructed from 45 layers of laminated mature English Elm, which was generously donated to the project by the Historic Chatham Dockyard from the equally historic Timber Seasoning Sheds. Each layer may have 2 of 3 individually sawn planks. It is a brilliant piece of work and very beautiful. It speaks loudly to me and is exemplary of the experience and love of making, which all the artists and creatives involved in the project have instilled in their work, often quietly and unseen. Andrew Lapthorn’s seat, encapsulates so much that has been done by us all in gathering our base material, spending time with it, mulling it over, discarding what doesn’t work, before finally committing to its final form.

 

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

 

Andrew has documented his work over many months and has given us access to the archive of images. Some of them are astonishing. Again, worth repeating, that his process reflects all of our various processes in various forms, making various outcomes. It is all about craft, mixed with experience, originality and passion. I will be making a longer post about this work.

 

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

 

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

 

Granite & Laminated Radius Timber Street Seat. New Cut, Chatham. Image: Christopher Tipping

 

 

 

 

Thalia, Belvedere and Telemon

Great to seen that our client Countryside & the Hyde Group have adopted several street names for Rochester Riverside from the original contextual research I did to underpin my public art proposals for the scheme, as directed and managed by Public Art Consultants FrancisKnight. 

 

Detail showing a plan of Phases 1 & 2 Rochester Riverside housing development by Countryside Homes with street names. Image: By permission of Countryside Properties

 

Thalia, Belvedere and Telemon were 3 of 4 locomotives that worked at William Cory & Sons Ltd (Coal Wharf) on Rochester Riverside.

‘Thalia’: Built by Robert Stevenson and Hawthorn Newcastle, (works No 7816, Drewry Car Co works No. 2503 of 1945). The locomotive was supplied new to William Cory & Sons Ltd. where it was named after one of the three Graces in Greek mythology. The locomotive was painted black with Cory’s standard logo on each side & spent all its working life in Cory’s sidings, which were located adjacent to Blue Boar Wharf on the River Medway.

‘Telemon’: Built by the Vulcan Foundry 9 (works No. 295, Drewry Car Co. works No. 2568 of 1955) worked at William Cory’s Coal Wharf, Rochester, 1971

 

Locomotives ‘Thalia’ and ‘Telemon’ at Cory’s Wharf, Rochester, January 1971. Image: Copyright Gordon Edgar

Gordon Edgar on Flickr 

 

 

 ‘Belvedere’: Had a streamlined casing and was built by Sentinel (Shrewsbury) in 1945 and worked at Rochester Cory’s Wharf from 1950 to 1957 & now at the Northampton Ironstone Museum.

 

An image of BELVEDERE in the sidings at Cory’s Wharf, Rochester Riverside. Image: Kent History Forum/3pinplug

KENT HISTORY FORUM

 

BELVEDERE. A proposal for a Cast Iron unit 960mm x 400mm x 75mm manufactured by Hargreaves. One of 24 Public Art elements to be embedded into the streetscape of Rochester Riverside. Image: Christopher Tipping

 

Proposals for a variety of Cast Iron units – shown full scale – to be manufactured by Hargreaves Foundry in Halifax. One of 24 Public Art elements to be embedded into the streetscape of Rochester Riverside, which recall the history of the site. Image: Christopher Tipping

 

Proposals for a variety of Cast Iron units – shown full scale – to be manufactured by Hargreaves Foundry in Halifax. One of 24 Public Art elements to be embedded into the streetscape of Rochester Riverside, which recall the history of the site. Image: Christopher Tipping

 

 

Stumped: Elephants on Dumpton Park Drive – Animal Thanet 2019

Stumped: Elephant herd marooned on Dumpton Park Drive

These images are part of the ongoing Animal Thanet project and installation / performance, which considers & reflects wider concerns I have for the  natural world, particularly focussed on the lives of its wild animals, conservation, loss of habitat, diminishing numbers, poaching, trophy hunting, extinction and callous exploitation, which holds a mirror to our humanity. We may soon only have plastic versions of our wild neighbours to play with. The last decade has witnessed the slow & horrible realisation that our negative impact on the planet and particularly our plastic pollution of almost every environment, is a real-time catastrophe for the world around us. 

A recently removed tree provides a stump as a refuge and island platform for these Elephants marooned above the pavement on Dumpton Park Drive. Habitat loss is a major issue in Elephant conservation. Human population growth means encroachment on wildlife. Loss of trees and forests leaves space for wildlife diminished and in smaller and smaller pockets or ‘island’ reserves. EleAid 

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Elephant herd marooned on a tree stump. Dumpton Park Drive, Ramsgate. Animal Thanet 2019. Image: Christopher Tipping

 

Crocodiles on Elms Avenue – Animal Thanet 2019

A haul-out of Nile Crocodiles – Crocodylus niloticus on Elms Avenue, Ramsgate.

These images are part of the ongoing Animal Thanet project and installation / performance, which considers & reflects wider concerns I have for the  natural world, particularly focussed on the lives of its wild animals, conservation, loss of habitat, diminishing numbers, poaching, trophy hunting, extinction and callous exploitation, which holds a mirror to our humanity. We may soon only have plastic versions of our wild neighbours to play with. The last decade has witnessed the slow & horrible realisation that our negative impact on the planet and particularly our plastic pollution of almost every environment, is a real-time catastrophe for the world around us. 

 

Crocodiles haul out on Elms Avenue trailer. Animal Thanet 2019. Image: Christopher Tipping

Above: Crocodiles haul out by a rainwater pool caught in the tarpaulin of a trailer parked on Elms Avenue.

 

Crocodiles haul out on Elms Avenue trailer. Animal Thanet 2019. Image: Christopher Tipping

 

Crocodiles haul out on Elms Avenue trailer. Animal Thanet 2019. Image: Christopher Tipping

 

Crocodiles haul out on Elms Avenue trailer. Animal Thanet 2019. Image: Christopher Tipping

 

 

Herne Bay to Birchington – Animal Thanet 2019

A walk from Herne Bay to Birchington at Low Tide with two Arabian Oryx and an African Elephant – February 2019

These images are part of the ongoing Animal Thanet project and installation / performance, which considers & reflects wider concerns I have for the  natural world, particularly focussed on the lives of its wild animals, conservation, loss of habitat, diminishing numbers, poaching, trophy hunting, extinction and callous exploitation, which holds a mirror to our humanity. We may soon only have plastic versions of our wild neighbours to play with. The last decade has witnessed the slow & horrible realisation that our negative impact on the planet and particularly our plastic pollution of almost every environment, is a real-time catastrophe for the world around us. 

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Above: Arabian Oryx – Oryx leucoryx at Herne Bay

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Above: African Elephant – L. africana at Herne Bay

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant. Animal Thanet 2019. Image: Christopher Tipping

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant. Animal Thanet 2019. Image: Christopher Tipping

Above: Views towards Reculver.

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

Above & Below: Oryx at Minnis Bay

 

Herne Bay to Birchington – A walk with two Oryx and an Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Above & Below: Small tidal sea bathing pool at Minnis Bay

 

 

Herne Bay to Birchington – A walk with two Arabian Oryx and an African Elephant at low tide. Animal Thanet 2019. Image: Christopher Tipping

 

Herded – Animal Thanet 2018

My Garden … May 2018

 

These images consider & reflect wider concerns for the  natural world, particularly focussed on the lives of its wild animals, conservation, loss of habitat, diminishing numbers, poaching, extinction and callous exploitation, which holds a mirror to our humanity. We may soon only have plastic versions of our wild neighbours to play with. The last decade has witnessed the slow & horrible realisation that our negative impact on the planet and particularly our plastic pollution of almost every environment, is a catastrophe for the world around us. 

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Herded – Animal Thanet 2018. Image: Christopher Tipping

 

Chatham Placemaking Project – SEATING Part Two

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

Chatham Placemaking Project – SEATING Part One

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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