Tag Archives: Drawing

Chatham Placemaking Project – SEATING Part Two

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

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

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

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

 

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

 

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

 

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

 

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

 

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

 

Chatham Placemaking Project – SEATING Part One

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

 

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

 

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

 

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

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

 

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

 

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

 

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

 

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

 

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

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

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

 

 

 

CHATHAM RAILWAY STATION

£1.4m Chatham station regeneration gets underway…

 

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

 

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

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

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

Chatham Railway Station 2015. Image: Christopher Tipping

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

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

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

 

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

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

 

 

THESE ARE OUR STREETS Part Three – final

Draft Magazine – Playing Card Graphics by Paul Baker with text by Rob Young. THESE ARE OUR STREETS. Image: Christopher Tipping.

 

THESE ARE OUR STREETS  Part Three…! We have always planned to create a magazine or booklet…some form of printed publication or other, with which to celebrate and record our progress, our ideas, the stuff that got away…but mostly our collaboration with each other and with the people along our route. We may still be able to deliver this a a hard-copy paper publication at some point in the future, as a way or marking the project – or as an online event.

The following images will show you part of our journey to create the draft and concepts for the work you can now see embedded into the pavements of Railway Street and Military Square. The content has been generated in collaboration with other artists and creatives, commissioned to deliver specific aspects of our work, but who directly and indirectly contributed so brilliantly to the outcome. FrancisKnight Public Art Consultants, Rob Young – Writer, Xtina Lamb – Printmaker, Simon Williams – Filmmaker & Paul Baker – Graphic Designer.

Draft Magazine – Pages 34 & 35 FINAL : THESE ARE OUR STREETS. Image: Christopher Tipping. Group Photograph by FrancisKnight. Chatham Patterns by Xtina Lamb

Above Image: From left to right – Xtina Lamb, Christopher Tipping, Simon Williams, Rob Young at a project meeting in Rochester with FrancisKnight, September 2016

 

 

Draft Magazine – Playing Card Graphics by Paul Baker with text by Rob Young. THESE ARE OUR STREETS. Image: Christopher Tipping.

Draft Magazine – Playing Card Graphics by Paul Baker with text by Rob Young. THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Graphic Designer Paul Baker with writer Rob Young devised these Playing Cards posters carrying anecdotal, conversational or overheard words on the streets of Chatham

 

Draft Magazine – Colour Key Page Icons. THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Colour Key Page Icons. THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 24 & 25 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

Draft Magazine – Colour Key Page Icons. THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Fictional Heroes of Chatham are a series of fictional stories about Chatham’s past by our project writer Rob Young developed in response to time spent walking and talking on the streets of Chatham.

The fictional story below is about a Chatham Hero, Davey Pitt, who worked on the New Cut Viaduct

 

 

Draft Magazine – Pages 26 & 27 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 28 & 29 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

A CIRCLE OF WORDS IN A MILITARY SQUARE 

 

Draft Magazine – Pages 24 & 25 V1A : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 24 & 25 V3 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 30 & 31 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping. Archive Photograph by kind permission of MALSC

 

Draft Magazine – Pages 30 & 31 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping. Artwork & Text by Rob Young

Draft Magazine – Pages 34 & 35 FINAL : THESE ARE OUR STREETS. Image: Christopher Tipping. Group Photograph by FrancisKnight. Chatham Patterns by Xtina Lamb

 

THESE ARE OUR STREETS Part Two

THESE ARE OUR STREETS  Part Two…CHATHAM UP ! We have always planned to create a magazine or booklet…some form of printed publication or other, with which to celebrate and record our progress, our ideas, the stuff that got away…but mostly our collaboration with each other and with the people along our route. We may still be able to deliver this a a hard-copy paper publication at some point in the future, as a way or marking the project – or as an online event.

The following images will show you part of our journey to create the draft and concepts for the work you can now see embedded into the pavements of Railway Street and Military Square. The content has been generated in collaboration with other artists and creatives, commissioned to deliver specific aspects of our work, but who directly and indirectly contributed so brilliantly to the outcome. FrancisKnight Public Art Consultants, Rob Young – Writer, Xtina Lamb – Printmaker, Simon Williams – Filmmaker & Paul Baker – Graphic Designer.

Draft Magazine – Optional Cover: CHATHAM UP. Image: Christopher Tipping

The yellow cover was the first logo and layout we created…the inspiration for this as well as the overall style and approach to the magazine concept came from looking at archive print magazines and periodicals at the Medway Archives and Local Studies Centre in Strood. We were drawn to copies of CHATS magazine – the Chatham Port Division Magazine from 1955.

The A5 size and very distinctive 1950’s advertising inside were just what we were looking for.

CHATS Magazine – The Chatham Port Division Magazine. Volume 8, April 1955 Volume . By Kind Permission of MALSC

 

It can’t really be a surprise that such a massive military and naval presence in Chatham was serviced by local outfitters. What is interesting is that so many of these had businesses on Military Road and Railway Street. At the Medway Archives and Local Studies Centre, there is a collection of print magazines and periodicals. An amazing selection of adverts for military and civilian outfitters are contained within – almost all of them along our route of Railway Street and Military Road. I managed to find a copy to buy – Vol.8 April 1955 No. 2 

Amongst some that I listed were –

 

“Over a century of experience in expert tailoring of both naval and civilian outfits”. 

 

 

W.Cooper – ‘Cooperstyle’ Regimental Blazers! 56 Military Road  –

Gieves Ltd – 13 Military Road –

Unifit – 40 Military Road –

Baker & Co – 22 Railway Street – “As long as the Spirit of England Remains, we are at your service”. 

A. Fleming & Co. Outfitters Ltd Contractors to the Admiralty – 15 Railway Street –

F & H Newcombe – Military, Naval and General Outfitters – Railway Street –

C.H Bernard & Sons – Bernard Buildings, Military Road

Military Outfitters, Baker & Co. 22 Railway Street, Chatham. CHATS Magazine. Collection of Christopher Tipping

Military Outfitters, Baker & Co. 22 Railway Street, Chatham. CHATS Magazine. Collection of Christopher Tipping

Coopers Windows are the Talk of the Town. CHATS Magazine Vol 8 April 1955 No 2. Collection fo Christopher Tipping

Coopers Windows are the Talk of the Town. CHATS Magazine Vol 8 April 1955 No 2. Collection of Christopher Tipping

C.H Bernard & Sons Naval & Civilian Tailors and Outfitters. CHATS Magazine. Collection of Christopher Tipping

C.H Bernard & Sons Naval & Civilian Tailors and Outfitters. CHATS Magazine. Collection of Christopher Tipping

 

The other clear inspiration for me was the archive of Newcomb’s the tailors. They opened for business in 1854. After the original shop was demolished when the Sir John Hawkins flyover was built, the business moved along the High Street to the corner of Medway Street. Mr Gerald Newcomb is still trading as Penguins Dress HireGerald is the 7th generation to run the firm and has himself been in the industry for 45 years.

Click on this link for an earlier post I made about Newcomb’s.  Gerald gave me open access to their archives, which were amazing to see and includes the famous, Newcomb’s War Diary, surely a document of national significance.

‘The family has served the great and the good for almost 180 years. Figures such as Charles Dickens, Lord Kitchener, Lord Byron and Lord Tennyson have enjoyed the service we offer – our workrooms were a hive of activity as we created shirts for King Edward VII!’

This historic business fits into our Chatham Placemaking Project primarily because of its strong association with our route and the long association with style, craft and a strong sense of local community – Newcomb’s also had a Ladies Clothes Shop on Railway Street – the advertising for the business and associated images from their archives was inspirational.

F & H Newcomb had premises on the corner of High Street and Globe Lane and Ladies Shop on Railway Street. Image: F & H Newcomb Archive

F & H Newcomb Print Advertising. Image: By kind permission of Gerald Newcomb, F & H Newcomb Archive

 

F & H Newcomb. Associated Trade Print Advertising. Image: By kind permission of Gerald Newcomb, F & H Newcomb Archive

 

F & H Newcomb. Associated Trade Print Magazine September 1934. Image: By kind permission of Gerald Newcomb, F & H Newcomb Archive

 

F & H Newcomb. Associated Trade Print Advertising. Image: By kind permission of Gerald Newcomb, F & H Newcomb Archive

F & H Newcomb. Associated Trade Print Advertising. Image: By kind permission of Gerald Newcomb, F & H Newcomb Archive

 

…and so, back to our Magazine Pages…

 

Draft Magazine – Pages 14 & 15 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

We love Thomas Waghorn…we also appointed a performance Poet, Justin Coe, to come up with a suitably witty and succinct take on our journey down Railway Street to the River, which he performed in the street in a lively film by Simon Williams. Click here for a link to the film.   “The Overland Route c/o Thomas Waghorn’. 

 

Draft Magazine – Page 15 Option V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Page 15 Option V2 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 16 & 17 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 18 & 19 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping. Archive Image: Lady in Fur Coat on Military Road by Kind Permission of MALSC

 

Draft Magazine – Pages 20 & 21 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

Draft Magazine – Pages 22 & 23 V1 : THESE ARE OUR STREETS. Image: Christopher Tipping.

 

 

 

 

 

The Great Flood…and other Rochester Riverside stories (1 of 3)

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

“A creek separates the marsh here from Cory’s Wharf – apparently into which the watermill discharged…” “The marsh was full of logs (a huge stack of wooden piles from Rochester Old Bridge) and was home to many rabbits – wild rabbits, grey, brown and black…” ‘It was said that the Foord Family stocked the marsh, with animals from their farm at Darland’.  Stephen Hannington – Bygone Kent MagazineRochester’s Long Lost Common Part Two –

‘Floods of 1897 and 1928 inundated this area – the flooding in1897 was called The Great Flood and attributed to a record high tide on 29th November’. The image below shows the Homeward Bound Public House inundated by the flood waters. The Gas Holders of the Gasworks, can be seen in the background. The Gasworks, on Gas House Way was one of the earliest built in the UK in 1818. The area was known as Gas House Marshes. Image by kind permission of Medway Archives and Local Studies Centre.

The Homeward Bound Public House at Gas House Point inundated by the great flood of 1837. Image: By kind permission of MALSC

 

I thought I might post the artwork for all of the proposed granite and cast iron paving slab units. I can then add any historic anecdotes, images or information, which have caught my attention and may be of further interest. I’ll cover all these in this and the next two posts. 1 of 3

 

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

CAST IRON UNIT ‘BRICKIES‘ STACKIES STUMPIES’. You can also add MUDDIES to this list as well!  All colloquial names for the trades associated with Medway Barges built in and operating out of the Rochester Riverside site. Brickies carried up to 40,000 bricks on the up river journey to London and came back laden with London’s rubbish. Stackies were piled high with Hay and Straw. Stumpies could take cement, lime, timber, clay, coal, bricks, hops and other commodities. Muddies are self explanatory…the carried clay and mud dug from the banks of the Medway Estuary and destined for local brickworks.

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

CAST IRON UNIT ‘GOLDEN SAMPHIRE’. To the northwest the Medway Estuary consists of an extensive area of marshland, comprising of salt marsh and intertidal mudflats. The River remains tidal at this point and estuarine conditions would have dominated most of the site’s past.’  Ref: KCC HER 012. 2014 -371. Golden Samphire  grows on estuary mudflats and salt march. It is rare and I have used it as it represents the efforts being made by the client team to build upon the heritage and legacy of the natural environment with it’s diverse flora and fauna.

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

GRANITE UNIT  ‘BLUE BOAR CREEK’. “Blue Boar Wharf was our playground”. Edwin Harris

Blue Boar Creek is the one of the more distinctively named and well remembered places on our site. It also gave name to Blue Boar Lane, Blue Boar Hard, Blue Boar Lower Yard, Blue Boar Upper Yard, Blue Boar Lane Foundry and Blue Boar Pier. ‘Blue Boar Hard Pier: November 26th 1886′ as seen at the Medway Archives is set of beautiful, hand painted drawings of plans for a new Pier by draughtsman William Hoelking. Some details are referred to as ‘DOLPHINS’ & ‘DUMMY’. MALSC Ref: Plan 1 of 4 (002) MP/B/30/1 (1 of 4).

Blue Boar Hard Pier: November 26th 1886. Image: By kind permission of MALSC. Ref: Plan 1 of 4 (002) MP/B/30/1 (1 of 4).

Blue Boar Hard Pier: November 26th 1886. Image: By kind permission of MALSC. Ref: Plan 1 of 4 (002) MP/B/30/1 (1 of 4).

William Banks City Surveyor has also signed this document. William was born in about 1850 at Edmonton. He married Anne Mary Everett in June 1876 at Islington. In 1891, he and his family were living at at 10 Albany Road, Rochester, William was by then aged 40 and a surveyor for the city of Rochester.

‘What is now left of Blue Boar Creek and the river beyond at Limehouse Reach, lies deathly silent. Coal is not longer unloaded from colliers at Cory’s Wharf. So too is the Pier, once festooned with skiffs and rowing boats, where formerly small boys with rod and line and a jar of worms could fish away the school holidays’. John K. Austin from his publication ‘Yesterday’s Medway’. Johns has been involved with this project from the outset, having been consulted by the project Architects BPTW on his local knowledge as a historian, author, teacher and artist.

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

GRANITE UNIT ‘THE FIVE BROTHERS’  William Higham had a Barge Building business on Blue Boar Hard. He was born in 1838 in Lewes Sussex. On 27th October 1864 he married Fanny Elizabeth Blake in Strood. By 1881 they had 9 children and lived in a private house on Victoria Street, Rochester. William employed 11 men and 7 boys. THE FIVE BROTHERS was the last barge built at this yard alongside DOROTHY in 1901.

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

GRANITE UNIT ‘PERENNIAL GLASSWORT’.  ‘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.

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

GRANITE UNIT ‘COAL: METER HEAVER WHIPPER’. Colloquial names for trades employed in the Coal business.Frederick Furrell was born in 1807 and died in 1877. Frederick Furrell & Son were Coal Merchants based at Furrell’s Wharf, a  He was also an Alderman & Shipowner. He had ten children with his wife Katherine who he had married on February 25th 1832 at St Margaret’s Church in Rochester. Fred was Mayor of Rochester in 1855. Furrell’s Wharf was a 30m length of post and plank revetment of Oak and Elm Posts, most likely made from re-used ships timbers was in use in 1865 making it one of the oldest sites for industry on Rochester Riverside. It was accessed via Furrell’s Road.

His name also lived on as ‘Furrells Pond’“where children swam and skated in Icy weather – The site flooded during exceptionally high tides” . Edwin Harris

 Furrells Wharf was also the destination of many travelling shows, menageries and circuses – such as Wombwells Wild Beasts & Edmonds Menagerie – George Sangers Circus, Pinder’s Circus, Middletons’ Marionettes. 

Coal was a major industry at Rochester, with several businesses engaged, most notable William Cory & Son of Fenchurch Street London were registered in 1896 after taking over he business of coal factors, merchants and Lightermen of William Cory & Son of Rochester at Rochester Coal Wharf.

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

GRANITE UNIT ‘MARSH COWS GRAZING’ 

 

Brickies, Stackies and Stumpies

Brickies, Stackies and Stumpies refer to Thames Sailing Barges (aka Medway Barges or Rochester Sailing Barges or Spritsail Barges), which were built at Rochester and more specifically to the the trades they carried out. Brickies carried up to 40,000 bricks on the up river journey to London and came back laden with London’s rubbish. Huge mounds of glass bottles recorded on the Rochester Riverside site, north of Blue Boar Creek, are a result of this domestic waste being brought up the Medway from the capital. Stackies were piled high with Hay and Straw. Stumpies could take cement, lime, timber, clay, coal, bricks, hops and other commodities.

“Russet Brown & Ochre Sails with Various devices Emblazoned” Edgar J Marsh. ‘Spritsail Barges of the Thames and Medway’. 1948

Draft design for a granite paving slab. Rochester Riverside. Image: Christopher Tipping

 

Sample granite paving slab with water jet cut granite inlay and sandblasted text. Rochester Riverside. Image: Christopher Tipping

The granite units will be manufactured in collaboration with Hardscape. 

Granite square tile with a sandblasted letter B. Rochester Riverside. Image: Christopher Tipping

 

Sample coloured granite squares with sandblasted letters. Rochester Riverside. Image: Christopher Tipping

 

Sample coloured granite squares with sandblasted letters. Rochester Riverside. Image: Christopher Tipping

 

Detail of sample granite paving slab with water jet cut granite inlay and sandblasted text. Rochester Riverside. Image: Christopher Tipping

 

I am proposing to make 24 artwork units in either cast iron or granite, with inlaid & sandblasted detail. The units will be embedded into paving within or adjacent to the threshold entrances to all Apartment blocks and to the footpaths of all the central and riverside designated housing. I want these works with their accompanying text and drawings to be seen each day as people cross the thresholds between the public realm and the private home. This site was an industrious place for hundreds of years, providing and creating the wealth upon which Rochester grew into a powerful and beautiful cathedral city. It’s wealth however, is not only in the grand and the elevated. The everyday, the matter of fact, the local and colloquial have all contributed over time to this place leaving a rich social and community-led legacy through the people whose livelihoods were centred on this fascinating site next to the River Medway. Shipbuilding, Sailmaking, Gasworks, Railways, Livestock Market, Transport, Fishing, Metal and Aggregate Trades and Market Gardening have all at various times left an indelible and tangible mark on this place, as have the domestic residences, pubs, shops and small businesses such as:

Henry Allen – Dealer in Building Materials

Jane Weaver – Milliner

Joseph Anderson – Clay Pipe Maker

George Millar – Wheelwright and Coach Builder

Ebenezer Baird – Tailor

…all of Rochester Common.

Detail of cast iron paving slab with low relief pattern and text. Rochester Riverside. Image: Christopher Tipping

The images above shows a single panel manufactured by Hargreaves Foundry immediately after casting, when the surface is a gun-metal colour and then after a couple of weeks outside, where the colour is more akin to Corten steel.

The actual finish will be almost black, as the cast iron will eventually be treated with nitric acid to prevent further weathering.

There was an Iron Foundry on the site up to the 19th Century. HALLS IRON FOUNDRY was founded in 1785 and worked form premises adjacent to Cory’s Creek on Blue Boar Lane.  In the 1918 Directory of Manufacturers in England, James Hall & Son Ltd are listed as trading as T/A Hall’s Foundry. Tel. Chatham 169.

Cast Iron items such a pavement drains can still be see bearing the makers name in the streets surrounding the site.

James Hall & Son Cast Ltd. Rochester. Image: Christopher Tipping

Draft design for a cast iron paving slab. Rochester Riverside. Image: Christopher Tipping

BELVEDERE was the name of a Locomotive (a sentinel geared vertical boilered tank engine) that worked at William Cory’s Coal Yard and Cory’s Wharf. She was built by Sentinel (Shrewsbury) in 1945 & worked at Cory’s Wharf from 1950 to 1957 & is now at the Northampton Ironstone Museum. Belvedere was one of four Locomotives working in the yard – Thalia, Telemon and Greenwich being the others.

Detail of cnc milled model board for cast iron slab showing low relief pattern and text. Rochester Riverside. Image: Christopher Tipping

The original models for the cast iron units are being manufactured by Arthur Jackson & Co Ltd in Brighouse, West Yorkshire.

Plan of Rochester Riverside Phases 1 & 2, showing proposed sites for artwork as red or blue dots. Image: Christopher Tipping

I had researched the whole Rochester Riverside site and so have an enormous resource of material to draw upon. For the first two Phases of delivery however, we are focussing on site specific references relevant to the locality.

The following images show some of the draft artwork we may have to work with for the delivery of future Phases.

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

The Ross family were Shipbuilders working out of Acorn Yard on Rochester Riverside. Following the death of her husband Charles Ross in 1808 leaving her a widow with seven children, Mary Ross  took on the running of the yard. This was highly unusual for a woman at this time.

These are the ships built by Mary Ross following the death of her husband Charles.

Vigo: 1810 / 74 Guns / Broken up 1867

Goodwill:

Stirling Castle: 1811 / 74 Guns / Hulk in 1839

Thistle: 1812 / Gun Brig / 12 guns / broken up 1832

Epervier: 1812 / 18 Guns

Eridanus: 1813 / 36 Guns

Confiance: 1813 / Cruizer Class / broken up 1832

Tanais: 1813 / 38 Guns / built of Fir / broken up 1819

HMS Fury: 1814 / Bomb Vessel / Lost 1825

HMS Fury was launched in 1814 and was one of Captain Parry’s two ‘Discovery Ships surveying for the Hudson Bay Company. Fury was converted to an Arctic exploration ship. Commander William Edward Parry commissioned her in December 1820 She then made two journeys to the Arctic, both in company with her sister ship, Hecla. Her second Arctic voyage ended in disaster. She was damaged by ice while overwintering and was abandoned on 25 August 1825, at what has since been called Fury Beach on Somerset Island on the Canadian Arctic Archipelago.

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

William Higham had a Barge Building business on Blue Boar Hard. He was born in 1838 in Lewes Sussex. On 27th October 1864 he married Fanny Elizabeth Blake in Strood, nr, Rochester. By 1881 they had 9 children and they lived in a private house on Victoria Street, Rochester. William employed 11 men and 7 boys. THE FIVE BROTHERS was the last Barge built at this yard alongside DOROTHY in 1901.

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

Frederick Furrell was born in 1807 and died in 1877. Frederick Furrell & Son were Coal Merchants. He was also an Alderman & Shipowner. He had ten children with his wife Katherine who he had married on February 25th 1832 at St Margaret’s Church in Rochester. Fred was Mayor of Rochester in 1855. Furrell’s Wharf – a 30m length of post and plank revetment of Oak and Elm Posts, most likely made from re-used ships timbers was in use in 1865 making it one of the oldest sites for industry on Rochester Riverside. It was accessed via Furrell’s Road.

His name also lived on as ‘Furrells Pond’, “where children swam and skated in Icy weather – The site flooded during exceptionally high tides” . Edwin Harris

 Furrells Wharf was also the destination of many travelling shows, menageries and circuses – such as Wombwells Wild Beasts & Edmonds Menagerie – George Sangers Circus, Pinder’s Circus, Middletons’ Marionettes. 

 

 

 

 

Draft designs for granite or cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

Draft designs for cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

Draft designs for cast iron paving slabs. Rochester Riverside. Image: Christopher Tipping

 

 

 

Precious Objects

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

Some years ago a long standing family friend  and close friend of my Dad was being treated for cancer. He and his wife had often been to Elgol on the shores of Lock Skavaig on the Isle of Skye. They loved this place. I too had been there and as is the case – and now slightly frowned upon – I picked up some stones from a stream bed. The stones were small, but smooth & beautifully polished to a honed satin finish by the action of water. They could be held in the hand and moved around. The feeling of them was somehow special and resonant. I still have them now, wrapped in a cloth bag for fear of damaging them. I sent one of these stones to Dad’s friend. In doing that I think we had a non verbal conversation at distance about place and memories. I like to think it was re-assuring for both of us.

I have always picked up stones. They represent something unique about place, time and experience. Geology is fascinating.

I live by the sea in Ramsgate on the Kent Coast. I walk on the beach most days. I have found many sea urchin fossils. Each has a unique story. Each stone can still trigger memories of where and when it was found, what the weather was like…was the tide in or out.

I have created work for several projects with Cancer treatment centres at a number of Hospitals, including Churchill Hospital Cancer Centre, Oxford and a Macmillan Cancer unit for Tameside General Hospital. At Tameside Hospital and found my inspiration on a 12 mile walk entitled “Journeys through the Landscapes of Tameside” – this walk eventually became the brief for the project.

Stewart Ramsden, my walking partner who compiled the walk, had also been a cancer patient at the hospital and was part of our project’s champion group. Our route was eventually described by an eccentric figure of eight. Wild Bank and Hollingworthall Moor from Godley – a 12 mile walk through town, suburb, farmland and moorland.

The following words were made from my notes on the day:

This is a walk

A meander, a physical experience or just maybe a day-dream

A walk is more often along a path

The path or footpath changes in colour, texture and topography –

but there is always a remembered route to follow or a map to guide you

or maybe a venture to somewhere new

There is a constancy in moving forward

Things seen on a walk are half experienced and half remembered

A vivid green hedge

A tyre track

A discarded toy

A cloud which looks like a tree, a stream which looks like silver, a flash of colour

Horizon merges with sky

This is a landscape with no fixed perspective

Sky reflected in water

A small stone becomes a boulder

An object picked up and carried in the hand along the way

Track marks in fields are gestural and dynamic

Distant buildings become a child’s building blocks

 The layersPatterns in brickwork

 

Our project for the new Radiotherapy Unit at Dorset Hospital was similarly inspired by a walk along the Jurassic Coast I made ten years ago. I was hoping to find myself an ammonite to take home. I didn’t find any, but I saw many encased in rock by the shore. I saw the Blue Lias beds that contain giant plesiosaur fossils. The layers are like drawers in time. Each opening to another world and perhaps another wonder. I was also allowed free time to spend in the Dorset Museum Archives amongst boxes and drawers and piles of specimen stones and fossils. The way these objects were carefully curated and stored – often in intricate patterns and collections of similar sizes and or type. was inspiring and reminded me of my collections at home and of how precious they are to me.  The artwork has grown out of this fascination. The stones I have created are imaginary in colour and pattern, although informed by nature. They are perhaps stones I would like to find. Stones I would hold in my imagination to remind me of journeys I have made and places I have been.

We have now had the approval and sign off on the artwork proposals following a recent meeting with key Staff and stakeholders this week. The deadline is looming. The new building opens on 12th December. The work has to be manufactured and installed before this date.

Draft Artworks for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

To create the digital work each element requires up to 3 copies of each shape. One blank, one black & white and one in colour. The black & white originals are a mix of hand drawn motifs and textures, which are then scanned and worked on in Photoshop. I create a series of related shapes and masks, which I can then combine with larger patterns, often in repeat.Colours are added at this stage. I will often scan objects such as found paper or leaves and work on them digitally. I take too many images in the street, of shapes of water on the pavement – or reflections in windows – or a small plant growing in a crack in the ground or on a wall. All these can trigger an idea for a pattern or story.

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

First Floor Reception Artwork for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Golden yellow Ginkgo sapling motif for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

First Floor Non Clinical Staff Room. Artwork for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Agate Stone colour motif for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Window 101 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

 

Window 102 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

 

Window 103 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

 

Window 104 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

 

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Draft Artwork & Motifs for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

 

Window 105 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

 

Window 106 Artwork for Glazing Vinyl at Dorset County Hospital new Radiotherapy Unit. Image: Christopher Tipping

Autumnal sapling tree motif for Glazing Vinyl Dorset County Hospital. Image: Christopher Tipping

Decoration for the Hydrotherapy Pool Glazing …hello deer !

I imagined an abstracted landscape as a positive  way of encapsulating all that has inspired my commission for the Hydrotherapy Pool glazed screens. (There are approximately 46sqm of glass combined in both screens).

Both Hospital sites were originally set in and adjacent to open fields and expansive views of countryside. Easy to imagine then how beneficial this must have been to those patients and staff who experienced this.

It is now commonly understood that exposure to natural spaces, planting and nature within medical and healing environments is of great benefit and assists in the recovery and positive experience of patients and staff alike.

Deer with Roman pattern. Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

This glass landscape is populated with recognisable motifs, such as flowers, deer and trees, woven together with abstract forms and repeating patterns. Local landmarks such as Kelston Round Hill also feature, as do references to the architectural decoration and built heritage of The Min and its archaic Roman Mosaics. However, the most visible motif perhaps is water, and more explicitly, the gestural movement of water as shaped by those taking treatment in the Hydrotherapy Pool. A shape made in water informed by the movement of a hand or leg. Abstractions of steam or mist appear to hover in this landscape. Water is contained within a bowl or pool. An elegant but dynamic abstract splash of water drifts across the whole of the East Screen. The connection to hot springs and flowing waters has shaped Bath into the World Heritage Site we see today.

I have been so impressed with the positivity and care of the medical staff delivering these services, I wanted to evoke this caring nature with visual clues within the work, which may express this. Growing flowers and creating gardens is a nurturing vocation. Water is an elemental part of this.  Historically, The Min was built upon the grounds of the first Theatre in Bath, and the later extension built upon the formal gardens of Rectory House. Adjacent to the ChapeI at the rear of The Min is a small but lovely garden. Also in Bath, Gibbes Garden was a 15th Century apothecary garden growing medicinal herbs.

Combe Park had formerly been the site of the Bath War Hospital built in 1916 to provide beds and medical services for WW1 Casualties. There was a small pond and a stream ran nearby. Patients and staff were encouraged to grow and maintain flower gardens & were rewarded with prizes.

I was offered a session at the Hydrotherapy Pool at The Min as a way of understanding a little more about the impact of water as a treatment. I am not a patient – I cannot experience this as many do on a daily basis, not I am I in the process of healing or tempering acute conditions. Patients vary from those with lifelong conditions, such as Ankylosing spondylitis and others suffering from chronic pain, to physiotherapy in the pool following operations or broken limbs.  All I can aim for is to add to the interior space with something visually interesting / beautiful / stimulating to this brand-new environment, which makes the experience for both staff and patients a pleasant and perhaps an intriguing one.

The following images make up the final draft artwork approved for production by the RUH. The Magenta/Pink colour is used to indicate clear/fully transparent glazing with no artwork. White represents sandblasting and / or Ceramic Etch techniques. All other colour is created using Screen-printed Ceramic Colour fired onto the glass. The artwork is applied to the two inner faces of a double glazed sealed unit. There is a subtle overlaying of motifs, which means that the artwork is slightly different as seen from the interior, than the exterior. These drafts are created initially via hand drawing and assembled and finished in Adobe Photoshop and Illustrator.

Final Master Draft for the North and East Glazed Screens. Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Research Images developing colour & patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Final Master Draft for the East Glazed Screen. Artist: Christopher Tipping

Final Master Draft for the East Glazed Screen detail 4. Artist: Christopher Tipping

Final Master Draft for the East Glazed Screen detail 3. Artist: Christopher Tipping

Iris drawing. Research drawings developing motifs and patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Final Master Draft for the East Glazed Screen detail 2. Artist: Christopher Tipping

Draft Donkey with pattern. Research Images developing motifs & patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Orange. Research Images developing motifs, patterns & colours from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Final Master Draft for the North Glazed Screen detail 1. Artist: Christopher Tipping

Final Master Draft for the North Glazed Screen detail 2. Artist: Christopher Tipping

Final Master Draft for the North Glazed Screen detail 3. Artist: Christopher Tipping

Draft 16 Foil shape with Foxgloves. Research drawings developing motifs & patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

RUH Hydrotherapy Pool Artwork – What am I doing?

Drawing drafts for moving water and gestural motifs developing patterns from research at the RNHRD and RUH Hydrotherapy Units. Artist: Christopher Tipping

There are many threads of research and interest which have influenced the development and visual narrative of the artwork. The following notes and lists are from my own notebooks, where I  made records of research sessions and information which struck me as inspirational. 

The Mineral Water Hospital, affectionately known as The Min, was built in 1742 & overlooked open, ‘quiet fields’ and countryside. The Hospital was constructed on the site of Bath’s first Theatre of 1705, by the Architect George Trim, whose Mother was, apparently the sister of the Kings Architect, Inigo Jones. The theatre was demolished 1738.

This theatrical & dramatic connection has influenced the concept of using the glazed Hydrotherapy screens as inspirational painted backdrops – a way of creatively setting the scene within the new space & enhancing the experience of staff and patients using the Pool.

In 1859, with great ceremony, the foundation stone was laid for a new hospital building adjacent to the original site and built upon the grounds of a ‘large formal garden belonging to the Parsonage of St Peter Paul Parish’. This garden is shown on the John Speed map of 1610.

The new Royal United Hospital was built in open fields at Combe Park in 1932 (having moved from central Bath). Combe Park had formerly been the site of the Bath War Hospital built in 1916 to provide beds and medical services for WW1 Casualties. There was a small pond and a stream ran nearby. Patients and staff were encouraged to grow and maintain flower gardens & were rewarded with prizes.

Aerial view of the RUH sitting amidst green fields circa 1932 having moved to this site at Weston Manor from the centre of Bath. Image by kind permission of Bath in Time and Bath War Hospital at the RUH.

In the Building Report on The Mineral Water Hospital, by The House Historians, March 2006, there is a detailed report on The Chapel, (now the home of Bath Medical Museum)and its architectural decorations.

This mentions a number of plants seen in carvings, stained glass and other architectural details, which are wonderfully useful in referencing the legacy of The Min, when it finally closes its doors to move to the RUH site:

Ivy

Oak

Water Buttercup

Wild Poppy

Fig

Vines

White Lilies

Passion Flower

Pomegranate

Hyssop

 

Colour and pattern used within the stained glass is also influential. Patterns are influenced by the architectural decoration and tiling of The Min Chapel.

Various hydrotherapy treatments, methods and equipment as described as being newly installed in 1915 following extensive alterations, are also very evocative and inspire some abstract interpretation within my creative narrative.

 

Deep Baths

Aix and Vichy Douches

Scotch and Needle Douches

Reclining and Vapour Baths

Radiant Heat Baths

Sulpher Baths of Potassium Sulphide

Mineral Water Baths

Whirlpool Bath

Hubbard Tank to treat the entire body simultaneously

 

‘A Vichy Massage required the patient to stand on a rubber covered slab whilst showered with jets of hot mineral water. The needle bath was a circular shower with an array of horizontal pipes which sprayed fine jets of water’.

Descriptions of the Coat of Arms for the Royal National Hospital for Rheumatic Diseases – to give The Min its formal & proper title, is a useful source of colour references, decorative motifs, plants, animals and their meaning.

Black

White for truth, sincerity, peace, innocence and purity

Green

Blue

Purple

Circlet of Fountains

Foxglove

Hares

Meadow Saffron

I like the colour of evening sky, that particular shade of indigo blue.

Water is by turns fluid and abstract, vaporous & ephemeral, contained within many shapes – rivers, ponds, streams, pools, baths, glasses & oceans – any number of vessels.

My creative approach is making connections between place & historic legacy, hydrotherapy practice and an imaginary landscape, which may be conjured up whilst being treated in the pool & feeling the benefits of floating & exercising, whilst being supported by warm water and the care and assistance and encouragement of staff.

‘This hospital was to be entirely self-funded, and even before the hospital was built the raising of monies for it began in earnest. Bath’s Master of Ceremonies, Richard Beau Nash arranged balls and collected subscriptions; wills, donations and even bequests of a diamond, and 1,000 oranges, contributed to the coffers. The list of donors reads like a Who’s Who of 18th century Bath society. Those who donated £40 or more were invited to become a hospital governor, including the artist William Hoare and the actor David Garrick’.

https://thebathmagazine.co.uk/finding-the-cure/

 

 

Map on framed canvas. Mrs. Oliver inscribed on reverse. Showing location of Weston Manor prior to incorporation into Royal United Hospital. Image: By kind permission Bath War Hospital at the RUH

This Estate Map above – date unknown – shows the private estate of Weston Manor before the RUH incorporated it into its site in the 20th Century.

‘The hospital moved to its present site, Combe Park, on 11 December 1932. The site had previously been used for the large First World War Bath War Hospital which opened in 1916. In November 1919 it was renamed the Bath Ministry of Pensions Hospital, which it remained until it closed in 1929.

The site was also used by the Forbes Fraser Hospital and the Bath and Wessex Orthopaedic Hospital, both founded in 1924 and which merged into the RUH about 1980. The former manor house on the site, originally medieval but remodelled in the 18th century, became an administrative building. The building is a Grade II* listed building due to its fine Adam style interior’. Wikipedia

Image: Early Draft artwork for North & East Screens. March 2018 RUH HYDROTHERAPY. Artist: Christopher Tipping

Draft Artworks: Interior detailing explored for the Hydrotherapy Pool – new Therapies Unit, RUH, Bath. Artist: Christopher Tipping

Draft Artworks: Interior detailing explored for the Hydrotherapy Pool – new Therapies Unit, RUH, Bath. Artist: Christopher Tipping

Draft Artworks: Interior detailing explored for the North Screen of the Hydrotherapy Pool – new Therapies Unit, RUH, Bath. Artist: Christopher Tipping

Draft Artworks: Interior detailing explored for the East Screen of the Hydrotherapy Pool – new Therapies Unit, RUH, Bath. Artist: Christopher Tipping

Research Images from the RNHRD, The Min Chapel. Artist: Christopher Tipping

Research Images from the RNHRD, The Min Chapel. Artist: Christopher Tipping

Research Images from the RNHRD, Roman Mosaic from the basement excavations of The Min Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping

Research Images developing patterns from research at the RNHRD, including The Min Chapel. Artist: Christopher Tipping