Tag Archives: Granite

Blog, Landscape, Public Art, Public Realm, Rochester, Rochester Riverside

‘UNDER THE SHADOW OF THE CRANE’ ROCHESTER RIVERSIDE – PHASE 3 (3) CRANE POINT

February 21, 2020 Christopher Tipping 1 Comment

‘B’ is for Bespoke…

RR Amphitheatre Public Art Proposals – Bespoke Letter ‘B’ in Honed Granite or Porphyry + Laser Etch – 400mm High x 30mm thick. Image: Christopher Tipping

RR Amphitheatre Public Art Proposals- Bespoke Letters 200221 Christopher Tipping

The proposals for the PCC Amphitheatre Steps and Seats are currently being considered by the client. In the meantime I am working up some drafts for the use bespoke highly detailed letters in a variety of materials ranging from granite and natural stones, to cast iron, enamelled steel, glazed architectural faience and Terrazzo. These letters will be fixed into the rebated text detail within the cast concrete seat riser, which will be 450mm high. Each bespoke letter can be 400mm high. The depth of the rebate will vary from 5mm to 30mm, however, the bespoke letters will all be best at 30mm deep, keeping them as robust as possible.

RR Amphitheatre Public Art Proposals- Bespoke Letter ‘O’ in Glazed Ceramic with Laser Etched Polished Granite inset detail – 400mm High x 30mm thick. Image: Christopher Tipping

Detail: PCC Amphitheatre at Rochester Riverside by LUC – Public art proposal for bespoke letter ‘O’ in architectural glazed ceramic with laser etched polished granite inset detail – 400mm high x 30mm deep. Image: Christopher Tipping

I am proposing to work in creative collaboration with a number of specialist manufacturers, amongst them Evans Concrete, Darwen Terracotta, Hardscape, A J Wells, Quiligotti and Hargreaves Foundry

RR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ in Scratched Polished Stone with Laser Etched detail – 400mm High x 30mm thick. Image: Christopher Tipping

RR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ in Honed Granite or Porphyry – 400mm High x 30mm thick. Image: Christopher Tipping

RR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’ repeated in a variety of materials and finishes – 400mm High x 30mm thick. Image: Christopher Tipping

RR Amphitheatre Public Art Proposals- Bespoke Letter ‘B’s’ repeated in a variety of materials and finishes – 400mm High x 30mm thick. Image: Christopher Tipping

‘Under the Shadow of the Crane’ was initially an idea for a large scale granite ‘drawing’ to make up the pavement and public realm of the Crane Point site. Water jet cut granite slabs in two colours would form this extensive mosaic pavement, making permanent the ephemeral passing shadow of the crane, creating a physical memorial to the industrial heritage of the Riverside site.

Draft Plan drawing of granite paving ‘shadow’ mosaic to Crane Point. Image: Christopher Tipping

Detail: granite ‘shadow’ mosaic paving to the public realm at Crane Point. Image: Christopher Tipping

Blog, Public Art, Public Realm, Rochester, Rochester Riverside

‘Under the shadow of the crane’ Rochester Riverside – Phase 3 (Post1)

February 18, 2020 Christopher Tipping Leave a comment

In December 2019, I began research and concept development of Phase 3 Public Art proposals for Rochester Riverside. Commissioned by FrancisKnight Art Consultants for client Countryside Properties and The Hyde Group.

This plan of the concept development masterplanning stage for the Phase 3 development at Blue Boar Wharf, Rochester Riverside shows opportunities for possible Public Art intervention within the site. Image: Christopher Tipping

The 1898 OS Map overlaid with the new concept development proposals for Phase 3 on the Blue Boar Wharf Site. Image of 1898 Map by permission MALSC

I have had access to some amazing aerial images from Britain From Above. The following black and white images are so evocative and detailed, they tell a fascinating story of our site’s industrial and social history, nothing much of which survives today, except the large crane.

Rochester Riverside 1965 Aerial Image: By Permission – Britain From Above.

Limehouse Reach, River Medway, looking towards Chatham. Rochester Riverside 1965 Aerial Image: With Permission – Britain From Above.

The above image from 1965 shows the Gasworks, Limehouse Wharf, Acorn Wharf (Shipbuildng) Acorn House, RMC Aggregates and Ready Made Concrete, Cory’s Wharf (Coal), Chatham Goods Yard (Railways), Blue Boar Wharf, Furrell’s Wharf – almost all the way to Chatham Intra. So much to be inspired by…

I am collaborating with LUC and BPTW who are leading on the architecture, masterplanning and landscape design.

I am continuing to develop the work I created for Phases 1 & 2 as the site has endless riches to be inspired by. My problem is knowing where to stop the research. Each stone unturned has golden threads to follow. Contextually, we are now on the site of Blue Boar Wharf, in its heyday a major Barge Building site, with two Yards, Upper and Lower occupied by two businesses – William Higham, ran the Upper Yard, where he built 100 Barges between 1876 and 1901 & George Weedon the proprietor of the Lower Yard.

Cory’s Coal Wharf and Gyproc Products as seen looking towards Rochester Cathedral. Rochester Riverside 1936. Aerial Image: With Permission – Britain From Above.

Above: Gyproc Products (Plasterboard), started production on the Rochester Riverside site in 1933, just 3 years prior to this images from 1936 (the large white shed in the centre of the picture). Cory’s Wharf, with its ‘5 Cranes Dancing’, is in the foreground.

Cory’s Coal Wharf, Gyproc Products and the Cattle Market. Rochester Riverside 1936. Aerial Image: With Permission – Britain From Above.

Above: The coming of the railways in the 1840’s effectively separated the town from its salt marsh grazing pastures and community centred around The Common. The Cattle & Livestock Market – seen bottom left in this image from 1936 has rooftop graphics – advertising its products – probably for the benefit of train passengers, as the track was raised on an earthen bank and brick viaduct. ‘Thorley’s Food for Cattle’, & ‘Thorley’s Food for all Stock’.

Above: This Postcard must be a very early image of the site, as there appears to be no industrial development of the Riverside site.

This Google Earth Image from 1960 shows the site in its Industrial heyday.

This Google Earth Image from 2017 shows the site stripped of its industry and prepared for development as a new residential community in Rochester.

One of two 200tonne Cranes was retained on site. This is not its original position, but nonetheless, it speaks loudly of the industrial heritage of the site. Image: Crane on Rochester Riverside cc-by-sa/2.0 – © Danny P Robinson – geograph.org.uk/p/843730

There is a great short film on You Tube called the Medway Dock Crane, which show the Blue Boar Wharf site and the whole of Rochester Riverside, prior to development by Countryside as seen from a drone. Click on the above link to view.

Blog, Landscape, Public Art, Public Realm, Rochester, Rochester Riverside

‘5 CRANES DANCING’ & OTHER STORIES FROM ROCHESTER RIVERSIDE – PHASES 1 & 2 (5)

January 7, 2020 Christopher Tipping Leave a comment

By mid-December 2019, a number of the bespoke public art units (5 of 24) had been finally installed into the footpaths and thresholds of new properties along sections of Common Creek Wharf and Thalia Way. These parts of the site were fully occupied during the weeks leading up to Christmas. I will update as more units are installed –

Granite Unit ‘GOLDEN SAMPHIRE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping

Granite Unit ‘SHELDUCK’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping

Granite Unit ‘SHELDUCK’ in progress at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. This was a really complex unit to achieve. Image: Hardscape England

Granite Unit ‘WILLIAM CORY & SON LTD’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping

Granite Unit ‘WILLIAM CORY & SON LTD’ in progress at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Hardscape England

Granite Unit ‘WILLIAM CORY & SON LTD’ being laser etched during production at Hardscape England prior to being installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Hardscape England

Cast Iron Unit ‘5 CRANES DANCING’ installed at Rochester Riverside. Manufactured to my designs by Hargreaves Foundry. Image: Christopher Tipping

Above: Concept Development Masterplan circa 2017, Rochester Riverside by BPTW. Below: Rochester Riverside 1936, Photograph by permission of Britain From Above.

Above: You may just be able to make out the ‘5 Cranes Dancing’...just below the CORY’S WHARF text . These cranes were eventually replaced by 2 x 200 tonne Cranes, each capable of lifting 10 tons at a time.

Granite Unit ‘WALRUS & NELLIE’ installed at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping

Granite Unit ‘WALRUS & NELLIE’ in prodution at Hardscape England prior to installation at Rochester Riverside. A variety of granites with water jet cut, inlaid, laser etched and sandblasted detail. Image: Christopher Tipping

Granite Unit ‘ADA & EDITH’ installed at Rochester Riverside. Image: Christopher Tipping

Granite Unit ‘ADA & EDITH’ during manufacture at Hardscape England and now installed at Rochester Riverside. Image: Christopher Tipping

Blog, Public Art, Public Realm, WINCHESTER STATION APPROACH, WINCHESTER STATION PUBLIC REALM

WINCHESTER STATION APPROACH – PART 10 – FINAL COMMENTS

November 20, 2019 Christopher Tipping Leave a comment

This short creative contract to research and develop concept-led proposals for design interpretation and public art for Winchester Station Approaches has now completed.

Winchester Station and approaches 2019. Image: Christopher Tipping

This work was intended to inform discussion, dialogue and consultation with regard to the final form and feel for the public realm around Winchester Station. This form of placemaking based upon creative site analysis and creative research , which hopefully results in an original interpretation for the site, is essential to create a space fully responsive to its local environment and client & user aspirations.

Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping Artwork superimposed onto LDS plan.

Draft concept study for an interpretive public art & public realm to Winchester Station & Station Approaches. Image: Christopher Tipping

Study with Key to concept & research led creative proposals for interpretation and public art with which to influence the design process for public realm at Winchester Station. Image: Christopher Tipping

Above: This draft study detail of the key to materials, finishes and 3D objects, is a concept only proposal and not intended as a final design. Its description of materials, forms and finishes is subject to further discussion and comment. with a future project team.

Concept & creative interpretation studies for form and shape of seating, public art & interpretation for Winchester Station & Approaches. Image & Artwork by Christopher Tipping

Blog, Public Art, Public Realm, WINCHESTER STATION APPROACH, WINCHESTER STATION PUBLIC REALM

WINCHESTER STATION APPROACH – PART 9 – STONES AS YET UNTURNED & OTHER STREAMS OF INFLUENCE!

November 20, 2019 Christopher Tipping Leave a comment

On 24th July I came to Winchester to meet Annabelle Boyes (Receiver General) and Catherine Hodgson (Marketing Manager) at Winchester Cathedral.

High Altar of Winchester Cathedral. Image: Christopher Tipping

I had requested a meeting as a matter of courtesy, having visited the Cathedral several times previously during my research work for the Winchester Station Approach Project. It was important I met with Annabelle as I wished to discuss the possibility of collaborating with the Cathedral and particularly with the Stonemasons. Not only that, but I wished to know more about the Cathedral’s role in the community – an enormously broad subject, but nonetheless, one that I considered vital to understand the nature of its calling. It was of real interest to me to hear Annabelle talk about the Cathedral as a living place serving not only its faithful and local congregation, but everyone and anyone. A living and breathing building, actively engaging with and remaining vital to a worldwide audience in the 21st Century.

Winchester Cathedral Calling and Vision Publication. Image: Winchester Cathedral.

One outstanding calling is about welcome. In the Cathedra’s Calling and Vision document , emphasis is placed on welcome, access to all, hospitality and pilgrimage. The Cathedral Close is a haven for visitors and locals alike. The Station is also a Gateway to Winchester, so the same ethos ought to be present here in the public realm too, with an emphasis on welcome, and civic hospitality. A place of arrival and departure, a place of safety, a gateway and a welcome.

Marketing Manager Catherine Hodgson, then took me on a walk around the Cathedral and its outbuildings, including a visit to the stonemasons yard. Should the project progress to design stage, then I will certainly be advocating for a cross discipline collaboration with the Cathedral.

Carved stone head support from a 17th Century Memorial. Winchester Cathedral. Image: Christopher Tipping

A page taken from ‘ILLUMINATION’, showing an images of the 7th Century Anglo Saxon Alter Base. Development update from Winchester Cathedral ISSUE 17 – April 2019. Image: Winchester Cathedral

The Forecourt of the British Library by Colin St John Wilson 1998. Image: Christopher Tipping

Above: The forecourt (piazza) of The British Library, St Pancras. Colin St John Wilson, 1998. The block seating at the crossing of the pavement grid, resemble the Cathedral’s stone carved or wooden bosses, which appear at the junctions of the stone ribs in the vaulted nave.

Timber carved roof bosses at the junctions of vaulted ribs in Winchester Cathedral. Image: Christopher Tipping

Sarsen Stone W17 N in Winchester on the corner of Minster Lane and St Thomas Street. Image: City of Winchester Website

Sarsen Stone W17 D, St John’s Church, St John’s Street, Winchester. Image: City of Winchester Website

Sarsen Stones in Winchester. Image: City of Winchester Website

‘Sarsen Stones in Winchester’, from the website of The City of Winchester – these sandstone blocks, sought after as ‘markers’, are an inspiration for block seating at Station Approach…see below…

Studies for stone aggregate Roof Boss Benches with laminated stone or terrazzo additions. Image: Christopher Tipping

A number of industries, which Winchester supported, including Watermills, Brewing and Iron Foundries depended upon an immediate and plentiful supply of water. Winchester’s waterways brought wealth to the Cathedral.

Amongst these industries, several stand out as examplers –

Winchester City Mill – one thousand years of history milling corn and the use of Millstones of Basaltic Stone.

Anatomy of a Millstone – General Reference. Image and Source: Wikipedia

Durngate Mill – demolished in 1966 after 700 years on the site.

City Engineering Works and Iron Foundry – Jewell Family of Middle and Lower Brook Street. Amongst other things the made components for the GWR Railways Winchester to Newbury Line. The family were also involved with Durngate Mill and the initials of Philip Charles Jewell appear on much cast iron work in the City.

Iron Founders and Engineers Dean & Smith –

Walker & Co, Danemark Works –

Union Workhouse , Oram’s Arbour, Winchester –

Hyde Brewery , Hyde Street, Winchester –

The Waterways of Winchester-part2 – City of Winchester Trust News Spring 1995. Elizabeth Proudman’s first article was published in the Spring 1994 Newsletter. She continues her story. Image: City of Winchester Trust

Above: This section of text by Elizabeth Proudman begins the report into The Waterways of Winchester.

Drawing of the River Itchen as it courses through Winchester. Image: Christopher Tipping

Concept study of the River Itchen as it courses through Winchester against a backdrop of flint. Image: Christopher Tipping

Studies for stone aggregate (terrazzo) benches with inset River Itchen detail. Image: Christopher Tipping

Study for stone aggregate (terrazzo) bench with inset River Itchen detail & laminated contrasting stone end section. Image: Christopher Tipping

Concept study for architectural toughened glass & laminated bench with sandblasted and infilled River Itchen. Image: Christopher Tipping

Study for architectural toughened glass laminated bench with sandblasted and filled River Itchen detail & contrasting aggregate flint end section. Image: Christopher Tipping

Study for architectural toughened glass laminated bench – showing layers exploded – with sandblasted and filled River Itchen detail & contrasting aggregate flint end section. Image: Christopher Tipping

Studies for stone aggregate Bridge Benches with cantilever flint terrazzo addition. Image: Christopher Tipping

Studies for stone aggregate Bridge Benches with cantilever flint terrazzo or timber addition. Image: Christopher Tipping

Studies for stone aggregate column posts or perches with decorative motifs. Image: Christopher Tipping

Blog, Landscape, Public Art, Public Realm, Rochester, Rochester Riverside

ROCHESTER RIVERSIDE – PUBLIC ART IN PRODUCTION – ARTSCAPEOLOGY AT HARDSCAPE ENGLAND – PART 4

November 20, 2019 Christopher Tipping Leave a comment

My recent trip up to Hardscape at Logistics North near Bolton was a ‘more than hoped for’ brilliant success. This work was conceived with care, skill and emotion. I feel I can honestly say it has been manufactured with care, with enormous skill and equal amounts of emotion. This is what I want to be doing with my time! Achieving beautiful things, creating good work, working with great people. Focussing on craft and natural materials, on age-old skills of hand and eye, fused with technological innovation. I want to work alongside and collaborate with people who are proud of what they do and shout it from the rooftops. –

OK – so with that out of the way, let’s take a look at some of the day’s outstanding work.

Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Christopher Tipping

Above: My good friend, the ampersand. ‘WALRUS & NELLIE’. Unit size – 900mm x 300mm x 75mm. More ‘Tales from Rochester Riverside’…

Above: Details of ‘ADA & EDITH‘ , 900mm x 300mm x 75mm with an inverted ‘WALRUS & NELLIE’. at top. Unit size – 900mm x 300mm x 75mm.

Above: Details of ‘ADA & EDITH‘ , 900mm x 300mm x 75mm with a rectangular block of Carlow Limestone crisply laser etched with the name ‘ADA’ & inset into a slab of Porphyry. An inverted ‘WALRUS & NELLIE’ at top, was also sandblasted and inset with text – unit size – 900mm x 300mm x 75mm.

Above: Eleven of the fifteen units being created up at Hardscape are visible in this image.

Above: At bottom, ‘DUNLIN A SALTMARSH BIRD’, with water jet cut, inset, laser etched and sandblasted granite – unit size – 1200mm x 400mm x 75mm . At top, an inverted ‘GOOZERS & WATERMEN’ – unit size – 900mm x 300mm x 75mm.

The beautifully detailed DUNLIN in black Carlow Limestone is laser etched, then water jet cut from its slab and inset into the red Shiraz base slab. The letter ‘D’ is also water jet cut from green Kobra Granite and inset into both the red Shiraz and the Black Carlow, bonded in place with a golden yellow resin specially selected for colour. The letter ‘U’ and other visible text is sandblasted. This is highly skilled and complex work. Looks bloody amazing too…

Above: ‘GOOZERS & WATERMEN’ is no less complex, with water jet cut and inset text in Maple Red Granite, inlaid into a Black Carlow Limestone base slab, which is in turn sandblasted with text and laser etched to two depths to create the rippling water effect. See images below.

Above: The laser etched text ‘Watermen’ on the ‘GOOZERS & Watermen’, panel is wonderfully delivered with a deeper etch to the centre and a delicate lighter etch to the outline. This attention to detail and finish it what makes these bespoke units so outstanding.

Above: Detail of ‘SHELDUCK’, Laser etched bird motif on black Carlow Limestone, water jet cut-out and inset into a Kobra Green base slab. Letter ‘D’ is also water jet cut and inset. The other letters are sandblasted into the Kobra Green. Unit size – 960mm x 400mm x 75mm

Above: Details of ‘SHELDUCK’ & ‘PERENNIAL GLASSWORT’, just two of our 15 tales from Rochester Riverside. ‘SHELDUCK’, is a laser etched bird motif on black Carlow Limestone, water jet cut-out and inset into a Kobra Green base slab with large letter ‘D’ also water jet cut and inset. The other letters are sandblasted into the Kobra Green. Unit size – 960mm x 400mm x 75mm. ‘PERENNIAL GLASSWORT’ is a red Shiraz slab base sandblasted to two depths for text and plant motifs. Royal White & Carlow Limestone letters have also been inset into the surface.

Above: Detail of some of the letters of ‘PERENNIAL GLASSWORT’ sandblasted into red Shiraz granite.

Above: ‘MARSH COWS GRAZING’..& other tales from Rochester Riverside’ is Unit No. 8 in a sequence of 15 bespoke granite units along with 9 bespoke cast iron units together create a story about the history and use of this site from Medieval times to the present day. The slabs are robust and heavyweight, adding a physical presence to the narratives they embody. The lives and livelihoods of Rochester people are represented here. These histories live on in stone and cast iron.

Above: Detail of letters ‘C’ & ‘O’, bot water jet cut and inset from Maple Red Granite and Porphyry respectively and inset into sandblasted Kobra green Granite.

Above & Below: ‘BLUE BOAR CREEK’ & ‘GOLDEN SAMPHIRE’, 2 more Tales from Rochester Riverside. Large letter ‘B’ water jet cut from Maple Red Granite, inset into Black Carlow Limestone with laser etched detail.

Above: ‘GOLDEN SAMPHIRE’ still has the resin bond material smeared over the surface…the cleaned up version can be seen below.

Above: The large letter ‘S’ is water jet cut from black Carlow Limestone, which has beautiful white shell deposits within its matrix., which are wonderfully contrasting when wet.

Above & Below: ’15 BARGES STARTED THE RACE’ & ‘RUSSET BROWN & OCHRE SAILS’. Both bespoke units exhibit great colour contrast and use of stone. Deliberate use of coloured resin bond to fix water jet cut motifs in place adds another dimension.

Above: Detail of the red Shiraz base slab with sandblasted text into which is inset a 2 colour motif with Maple Red granite and Kobra Green, fixed with a coloured resin bond.

Above and Below: ‘THE FIVE BROTHERS’ & ‘SPRITSAIL BARGE’, share a base slab of Porphyry, with sandblasted text and motifs. FIVE BROTHERS has the word ‘FIVE’ inset in water jet cut Maple Red, whilst SPRITSAIL has three letters ‘S’ ‘g’ & ‘L’ inset in Royal White for contrast.

Above and images below: ‘COAL – METER HEAVER WHIPPER’ & ‘WILLIAM CORY & SON LTD COAL FACTORS’. 2 Tales from Rochester Riverside…

Above: Top slab – 1200mm x 400mm x 75mm – Crystal Black base slab with sandblasted text & water jet cut and inset Maple Red rectangle with additional inset text in Crystal Black. Bottom slab – 960mm x 400mm x 75mm – Black Carlow Limestone base slab with sandblasted text and motifs with water jet cut and inset Maple Red granite letters and motifs.

Detail: Bespoke public art units for Countryside Homes at Rochester Riverside in production at Hardscape England. Image: Hardscape

Blog, Landscape, Public Art, Public Realm, Rochester, Rochester Riverside

ROCHESTER RIVERSIDE – PUBLIC ART IN PRODUCTION – HARDSCAPE ENGLAND – PART 3

November 12, 2019 Christopher Tipping Leave a comment

I’m travelling up north to Bolton this week to see the final units completed and hopefully sign off the work so it can be delivered to Rochester Riverside for installation. Can’t wait to see them all.

Hardscape’s stone specialists continuing their great work on my bespoke granite public art granite features for Rochester Riverside. Image: Hardscape Mathew Haslam

Above: “BLUE BOAR CREEK”…& other tales from Rochester Riverside. Detail of a water-jet cut & laser-etched paving panel in black Carlow Limestone with inset text of Amarelo Real (yellow granite) & Porphyry.

These new images are just in this afternoon thanks to Mathew Haslam of Hardscape – as their skilled stone specialists focus on the applied detail. Water jet cutting, inlaying, sandblasting and laser etching their way through 15 bespoke units destined to be embedded into the landscape of the new housing development at Rochester Riverside for client Countryside. This highly bespoke work needs to be handled with care and demands high levels of craft skills.

Hardscape have been excellent at providing this form creative collaboration. Public Art Strategy & Artists Commissions by FrancisKnight .

Below: This unit is 9 of 15 – ‘SHELDUCK’, a Kobra Green Granite base slab with water jet cut inset motif & text in black Carlow Limestone, which has been laser etched with surface detail. Further sandblasting of text into the green granite, will complete the work.

Above: The almost completed ‘WILLIAM CORY & SON LTD’.

Above: This is the base slab of black Carlow Limestone, which has been laser etched first & then water jet cut – but the large letter ‘W’, the ‘&’ and the diamond motif have yet to be chiselled out. See Below –

Above: The water jet cutting removes a series of lines from the granite, which are determined by the CAD programme, which creates the cutting paths. These pathways are interesting in themselves as patterns, but in this instance they have to be chiselled out carefully by hand, to create the void space for the granite inlay to be fixed.

Above: This images shows the void spaces chiselled out from the Carlow Limestone. The letter ‘W’ in Maple Red granite has already been inset and is awaiting bonding in place – the diamond motif is just about to be inset. These images are wonderful for showing process, craft and the mix of skills from CAD technology to work by hand & eye.

Blog, Public Art, Public Realm, WINCHESTER STATION APPROACH

WINCHESTER STATION APPROACH – PART 5 – PATTERNS IN PAVING ?

November 7, 2019 Christopher Tipping Leave a comment

A short post on patterns of paving, used externally in the City streets. These images are a simple & straightforward record of paving and materials used in highway engineering and the public realm in Winchester. What I am interested in is the variation and the happenstance, which occurs between pattern, materials and textures. The ordinary and mundane, boring ?…no ! Some richness and patterns emerge, often as a result of repair & regeneration. Interesting to note changes at thresholds and edges. Old and new side by side. They are perhaps not the most exciting of images – but for those of you who look down to see & care about what you are walking on – you too may also see something that inspires you, as I have been inspired.

Winchester Station. Paving patterns and materials used in Winchester. Image: Christopher Tipping

Winchester Station Approach project. Station Hill. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe

Winchester Station Approach project. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe

Winchester Station Approach project. Outside Winchester Museum. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe

Winchester Station Approach project. High Street. Paving patterns and materials used in Winchester. Images: Christopher Tipping & Dave Lowe

Winchester Station Approach project. Paving patterns and materials used in the streets of Winchester. Images: Christopher Tipping & Dave Lowe

…and finally – all roads lead to the Cathedral.

Blog, Landscape, Public Art, Public Realm, Transport, WINCHESTER STATION APPROACH

winchester station approach – Part 4 – Materials, ABSTRACTION & PATTERNS

November 7, 2019 Christopher Tipping Leave a comment

The image above is a detail of the beautifully carved ebony black polished stone 12th Century font, with its depiction of the miracles of St Nicholas. It is without doubt one of the Cathedral’s greatest treasures. It was brought from Tournai, in modern day Belgium. It has been in use ever since. It is astonishingly fresh and wonderful.

The building materials of Winchester. Image: Christopher Tipping

It isn’t too hard to find odd and quirky combinations of both mundane & exotic materials and examples of spectacular & naive decorative arts and crafts side by side in Winchester, especially in the Cathedral. Almost one thousand years of continual occupation of this religious site bears witness to an unbroken architectural legacy, one that is brimful of odd juxtapositions, exotic materials, renewed or replaced fabric, scratched graffiti, vandalism and destruction. Like walking through a time-warp. Robust Norman Romanesque Architecture to Perpendicular Gothic in one step. Swedish Marble to Purbeck Stone in another. Extant 13th Century inlaid ceramic floor tiles to 1960’s replicas. Striking thresholds crossed mixing time and material, yet the experience is not jarring or disjointed. Time itself has softened these transitions and blurred the edges.

I am continually cherry picking from the world around me, plucking at things, tucking things away for later – like a squirrel, gathering nuts for winter or in the manner of a herbivore, continually grazing, & chewing the cud. I am gathering visual information – an extraordinary cabinet of curiosity in my mind. Certain things catch my attention, whilst others pass me by. This eclectic meander is not a considered or deliberate creative manoeuvre. It is innate. It is my pattern of speech, it is my handwriting. It simply is.

A mash-up of the decorative building materials of Winchester & my own patterns. Image: Christopher Tipping

SANDSTONE – FLINT – LIMESTONE – EBONY BLACK TOURNAI MARBLE – HAND MADE BRICK – OAK TIMBERS – INLAID CERAMIC TILES – MONOLITHIC GRANITE – CAST IRON – GUN METAL – CARVED OAK – STAINED GLASS – WINDOW TRACERY – LEAD

The building materials & memorials of Winchester Cathedral. Image: Christopher Tipping

An abstract mash-up of the decorative building materials & styles of Winchester mixed with my own ‘Winchester inspired’ patterns. Image: Christopher Tipping

Abstract drawings based on knapped flints, one of the building materials of Winchester. Image: Christopher Tipping

Blog, Landscape, Public Art, Public Realm, Rochester Riverside

ROCHESTER RIVERSIDE IN PRODUCTION – HARDSCAPE ENGLAND

November 4, 2019 Christopher Tipping Leave a comment

Mid-September and it was up to Hardscape, Bolton to see progress on the manufacture of the bespoke inlaid granite paving units. As ever, the works are of a really high quality and Hardscape are always keen to progress & test their creative collaborations.

15 granite units are in production. These vary in size from 1200mm x 400mm x 75mm to 900mm x 300mm x 75mm and are destined to be installed at the thresholds to housing & apartment blocks at Rochester.

15 granite paving units for Rochester Riverside with inlaid and sandblasted details. Image: Christopher Tipping

This work is achieved via water jet cutting and inlay techniques using colour matched resin to bond granite elements in place. Text and other motifs are also sandblasted at varying depths.