Tag Archives: Drawing

Bicester Community Hospital

Wednesday 1st October 2014

I have just been commissioned by Tom Cox, Artscape Project Manager for Oxford Health NHS Foundation Trust to create artwork for the new Bicester Community Hospital.  The new hospital is being delivered by Kajima & Nightingale Architects alongside Mansell Construction – now part of Balfour Beatty Construction UK.

Bicester Community Hospital - Image by Kajima.co.uk

Bicester Community Hospital – Image by Kajima.co.uk

The new works will be digitally printed onto optically clear vinyl and applied to the glazed window & door screens of 10 ward rooms throughout the building.

Typical glazed integrated door & window screen for digitally printed artwork.

Typical glazed integrated door & window screen for digitally printed artwork.

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External view of ground floor elevation with glazed screens

External view of ground floor elevation with glazed screens

 

The work is being manufactured and installed to my designs by Guardian Window Film.

 

‘Heart of the Campus’, Sheffield Hallam University – Phase 2 Manifestations

Wednesday 1st October 2014

Yesterday the university client approved the Phase 2 artworks for the glazing artwork manifestations at the new ‘Heart of the Campus’ building for Sheffield Hallam University, Collegiate Campus.

The project was delivered by Graham Construction and HLM Architects.

The digitally printed glazing manifestation artworks will be manufactured and installed by VGL.

 

VGL's production artwork with annotations by the artist in red & blue -

VGL’s production artwork with annotations by the artist in red & blue –

 

Phase 2 draft artwork with production notes -

Phase 2 draft artwork with production notes –

 

Phase 2 artwork draft with production notes - detail

Phase 2 artwork draft with production notes – detail

Phase 2 artwork drafts with artist production notes - detail

Phase 2 artwork drafts with artist production notes – detail

Phase 2 artwork drafts with artist production notes - detail

Phase 2 artwork drafts with artist production notes – detail

Print

Phase 2 artwork draft in full –

Phase 2 - Detail of artist draft -

Phase 2 – Detail of artist draft –

 

Phase 2 - detail of artist draft -

Phase 2 – detail of artist draft –

 

Phase 2 - detail, artist draft -

Phase 2 – detail, artist draft –

Central Chelmsford – glazing artworks approved

Thursday 18th September 2014

The draft designs for the digitally printed vinyl manifestations to the glazed curtain wall at CentralChelmsford was approved some time ago, but I have omitted to post any images for some obscure reason !
Here they are !  –

14-07-15 glazing screen v1

 

Draft artwork for digitally printed vinyl to main entrance screen and lobby

Draft artwork for digitally printed vinyl to main entrance screen and lobby

In a similar approach as that adopted for my recent manifestation project at Sheffield Hallam University, which is a print-white only process, layering transparent & opaque detail onto optically clear vinyl. This project is being delivered in collaboration with VGL Ltd

Detail: Digitally printed vinyl manifestation to the glazed entrance lobby screen

Detail: Digitally printed vinyl manifestation to the glazed entrance lobby screen

 

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Detail: Digitally printed vinyl manifestation to the glazed entrance lobby screen

 

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Detail: Digitally printed vinyl manifestation to the glazed entrance lobby screen

Central Chelmsford

Central Chelmsford Site Visit – Monday 2nd September 2014

Anne Knight of Chelmsford

Anne Knight of Chelmsford – Detail: ‘Anne’, sandblasted text motif in Royal Green granite by Hardscape

Client: Genesis Housing Association – Main Contractor: Denne – Project Managers: Bidwells – Architects: PTE architects – Landscape Architects: Area Landscape Architects – Arts Consultant: Frances Lord

507 new homes as well as retail and offices will make up the new development. The project is delivering a blueprint for a new community in Chelmsford.

The site has a number of key buildings once part of Anglia Ruskin University, which are being partly or wholly retained and refurbished. These are the Frederick Chancellor Building of 1905 and the Law Building of 1931.

One of the most historic & resonant as well as the earliest buildings on the site is the Grade II listed Anne Knight building, a former Friends Meeting House from 1824. Named after one of Chelmsford’s most distinguished women, Anne Knight 1786 – 1862.

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Anne Knight was a Quaker and a stalwart Anti Abolitionist, one of very few women to attend the World Anti Slavery Convention meeting held in London in 1840. She would have attended this Quaker Meeting House, now named after her. This is the key anchor building on site.

Anne Knight Building

The refurbished Anne Knight Building with new public realm

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The view of The Gate with its blue black brick curved elevation. This area is intended as a public open space, extending the forecourt and public realm of Chelmsford Station. The ground floor elevations are glazed and the interiors will be used as retail and food outlets.

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Looking South, through the aperture into The Place. The elevation of The Gate is dynamic & brooding. The crisp detailing is pared down. A facade of cantilevered black balconies appear to jut out from deep into the interior of the building from recessed windows.

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Looking south towards Central Park through The Place. The main pedestrian route will be on the left of this image, with the remaining site will be landscaped as a formal courtyard garden for residents and visitors alike

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The view north, towards  the Station from within The Place

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These are both samples of text to be used in the interpretive artwork which is embedded throughout the site. The sample on the left is York Stone with inset water jet cut grey granite, by Ashfield Ltd. Inset text such as this is used for step risers at the south of the site. The sandblasted sample on the right is part of a Royal Green granite paving supplied by Hardscape , called The Stream which runs continuously through the site north to south. Both interventions are based on contextual and site specific research I undertook.

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Day Treatment Unit, Cancer Centre, Churchill Hospital, Oxford

Tuesday 16th September 2014, Oxford Churchill Hospital, DTU, Cancer Centre I came up to Oxford today to review the installation of the wall-covering artwork along with VGL and the Trust Arts Coordinator, Ruth Charity. The DTU is an oncology & haematology day unit delivering chemotherapy & other cancer related treatments. The staff delivering this service are the most dedicated and hardworking group of people. How they have made time to collaborate and input into this project has been truly brilliant and a pertinent and sharp reminder that projects such as this succeed because of a positive buy in & contribution by staff and stakeholders alike. The work is created around a central core ‘island’ of offices and consulting rooms about which day treatment chemotherapy services are delivered. Most of the chairs and beds face onto this central island, meaning that most patients spend hours at a time over many weeks or even years staring at dull, blank walls, during treatment, rather than out of the windows behind them, which incidentally are too high to see through. A concept approach was developed to change this dull & monotonous view into a contemplative and softly illuminated abstract vista, interrupted by the suggested shadows of overhanging branches and foliage with dappled light breaking through.

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Corridor linking Chemotherapy Waiting Room to Oncology day treatment room

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Haematology treatment space

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Nurse Station

 

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Detail: Digitally printed vinyl wall covering

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Detail: Digitally printed vinyl wall covering

 

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Nurse Station

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Patient and visitor drinks station

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Corridor linking Oncology day treatment space with the Chemotherapy waiting room

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Haematology treatment space nurse station

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Detail: Patient & visitor drinks station

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Haematology treatment space nurse station

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Detail

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Detail

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Detail

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Detail with penguins

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Detail

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Oncology treatment space main nurse station

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Hand wash station

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Oncology nurse station – Detail of wall covering

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Haematology treatment space – Detail of wall covering

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

Tuesday, August 2nd 2014 – Collegiate Crescent, Sheffield Hallam University. Today I attended on site to review the Phase 1 glazing manifestation artwork installations for myself and meet with VGL who were on site to view the works in tandem with the main contractor, Graham Construction. I was also meeting with the University Clients to review the final scope for the Phase 2 installation of artwork. The building now appears to be semi open for use – but still going through various procedures and protocols, I suppose to ensure all goes smoothly once the mass of students arrive later this month! Great not to have to gear up with PPE. The building is looking amazing. Graham & HLM have done a wonderful job. External landscape is almost completed. The East Elevation of the building has an amazing aspect. It was a clear blue-sky day with lots of sun, which are good conditions for looking at the manifestations, as they are more likely to cast great shadows, which add considerably to the impact and variation within the works.

Sheffield Hallam University, Collegiate Crescent

Sheffield Hallam University, Collegiate Crescent

As seen from Crescent Road

As seen from Crescent Road

cnc routed West Elevation rainscreen

CNC routed West Elevation rain screen

The West Elevation rain screen is really quite reflective in strong sun. Athough this is a painted grey finish, it is glossy and can appear metallic. The exposed Rockpanel material beneath the colour coat has now really darkened from the earlier yellow colour. The surface is more subtle, but richer in appearance. The impact is muted from afar, but the details really begin to emergeon the approach.

The Western Entrance off Broomgrove Road is now almost completed. Some final touches to the landscaping will see this completed. As you pass through the entrance doors, the interior quickly opens out onto the central atrium, which is spectacular. The glazing manifestation artwork can be clearly seen.

The Western Entrance off Broomgrove Road is now almost completed. Some final touches to the landscaping will see this completed. As you pass through the entrance doors, the interior quickly opens out onto the central atrium, which is spectacular. The glazing manifestation artwork can be clearly seen.

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Entering the atrium space and hub of the building, with the main reception on the right and the main East Entrance straight ahead, you can just start to make out the glazing installation. If you turn to the left, this is what you see....

Entering the atrium space and hub of the building, with the main reception on the right and the Main East Entrance straight ahead, you can just start to make out the glazing installation. If you turn to the left, this is what you see….

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The central atrium space as seen from Level 1

This is the three storey central atrium space and ‘Heart of the Campus’. The client had originally commissioned artwork manifestations to much of the visible glazing, but on reflection, the transparency and legibility of the interior spaces & architectural form may have been compromised and it was decided to omit them from the project.  The artwork manifestations to the ground floor exterior curtain wall glazing, linking the East and North entrances, is still being commissioned as the Phase 2 works.

Shadows cast by the artwork manifestation add another dimension to the work and come and go with the sun.

Shadows cast by the artwork manifestation add another dimension to the work and come and go with the sun.

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This image shows the artwork applied to the interior glazed lobby, with the central atrium space just visible on the left.

This image shows the artwork applied to the interior glazed lobby, with the central atrium space just visible on the left.

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In bright sunlight, shadows are cast form the manifestation to carry across structural elements such as glazing screen frames and supporting columns. This interplay extends the range and impact of the artwork.

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The East Elevation Main Entrance doors are automatic and the manifestations cross and overlap as the doors open, creating yet another pattern.

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North Entrance glazed elevation with applied artwork manifestations.

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Detail of digitally printed artwork to glazing manifestations. North Entrance glazed screen.

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East Elevation glazed screen with applied artwork manifestations. This is the main entrance and interior lobby area with reception.

Seen from the open balcony areas of Level 1, the North Elevation entrance artwork can be clearly seen.

Seen from the open balcony areas of Level 1, the North Elevation Entrance artwork can be clearly seen.

East entrance interior lobby space.

East Entrance interior lobby space.

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

Tuesday 26th August 2014 Several images of the installation have just come in from VGL ‘s installers. These are low res images. I will be making a trip up to Sheffield in the next week or so to review the site prior to the Phase 2 works being undertaken. I will hopefully get more detailed images too !

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Interior of the east elevation main entrance screen

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East elevation

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East elevation

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East elevation

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Interior view of north elevation entrance screen

The Whiteleaf Centre, Aylesbury

Nightingale Architects have made available some new images of the project at The Whiteleaf Centre, Aylesbury. This particular image is of the large meeting room in the resource centre. The digitally printed artwork manufactured by Guardian is applied to the glazing screen. When the sun is strong, this creates an additional and fleeting, ephemeral extension of the artwork cast in shadow upon the floor and adjacent walls.

The digitally printed glazing artwork casts shadows on the adjacent walls.

The digitally printed glazing artwork casts shadows on the adjacent walls.

 

Detail of the Cafe and Waiting area of the resource centre. Image: Nightingale Architects

Detail of the Cafe and Waiting area of the resource centre. Image: Nightingale Architects

Christopher Tipping, the project artist standing next to a sample wall covering installation on the wards at The Whiteleaf Centre.  Image: Tom Cox

Christopher Tipping, the project artist standing next to a sample wall covering installation on the wards at The Whiteleaf Centre. Image: Tom Cox

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

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

Project Outline

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

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

Up on the scaffold, details start to emerge.

Up on the scaffold, details start to emerge.

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

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

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

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

Contextual studies & rationale behind the design

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

West elevation awaiting rain screen installation.

West elevation awaiting rain screen installation.

Scaffolding up - installation in progress

Scaffolding up – installation in progress

Rains screen cnc 'drawing' is now clearly visible.

Rains screen cnc ‘drawing’ is now clearly visible.

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

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

Routed Rockpanel detail is emerging

Routed Rockpanel detail is emerging

 

Scaffolding has mostly gone & the installation nearly completed.

Scaffolding has mostly gone & the installation nearly completed.

West Elevation

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

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