Tag Archives: Placemaking

Blog, London Road, Southampton, Public Art, Public Realm, Transport

‘VOID’, LONDON ROAD 2008

November 29, 2019 Christopher Tipping Leave a comment

‘During the nights of 30 November and 1 December 1940, the Southampton Blitz reached its climax as the city came under sustained attack. Hundreds of tonnes of bombs were dropped during the two nights, whilst on 30th November alone some 634 individual properties were left ablaze –’. Ordnance Survey

Sustained & heavy bombing between 23rd – 30th November 1940, left Southampton City Centre devastated. The destruction at the very heart of the built fabric of the city left seven Churches destroyed, including Holy Rood, All Saints, St James’, St Mary’s, St Luke’s & St Paul’s.

Sexfoil Terrazzo seat on London Road, Southampton 2008. Image: Graham Redman

Above: ‘Void’. A bespoke black terrazzo platform seat, one of two sexfoil shaped seats commissioned for the London Road scheme, completed in 2008. The public art and interpretation for the public realm and highways improvement project was inspired by the Parish of St Paul’s Church, London Road, a vibrant community and shopping street, which was effectively destroyed on November 30th 1940 during the Southampton Blitz, when the Church was bombed and devastated by fire. London Road was badly damaged and the Church never rebuilt. An evocative image from the time shows the Church interior with the shape of the destroyed Rose Window appearing as a black void. This project evolved around this one powerful image. It evokes a legacy of community, architecture and people, which is explored in the public art seating other found on site today.

St Paul’s Church, London Road, Southampton. Image: Southampton Local Studies and Maritime Library & Southampton Archives

The manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London.

‘VOID’, sexfoil geometry drawing. London Road, Southampton. Image: Christopher Tipping

‘VOID’, sexfoil bench geometry drawing. London Road, Southampton. Image: Christopher Tipping

‘VOID’, sexfoil bench sketch drawing for stainless steel leg supports. London Road, Southampton. Image: Christopher Tipping

‘VOID’, sexfoil bench sketch drawing for test sample. London Road, Southampton. Image: Christopher Tipping

Sketch line drawings for paving and seating plans. London Road, Southampton. Image: Christopher Tipping

Sketch line drawings & models for paving and seating plans. London Road, Southampton. Image: Christopher Tipping

Sexfoil & Lozenge shaped Terrazzo seats installed on London Road, Southampton 2008. Image: Graham Redman

This project was commissioned by Elizabeth Smith, Public Art Officer for Southampton City Council in 2005, to work in collaboration with the project team to research, develop and create concept designs and proposals for environmental public artworks integral to the London Road scheme. I was asked to establish an overall concept for the area with particular consideration of pedestrian use and movement across roads and through spaces & placemaking and urban form, hard and soft landscaping, paving details and surfacing treatments, thresholds, markers or ‘gateways’, seating and / or sculpture. My contribution was contextually driven and collaborative.

2 No. 3000mm diameter x 140mm thick pre-cast dark grey/black terrazzo platform seats manufactured in one piece to a Sexfoil pattern, inclusive of a 160mm built up external edge with 100mm radius semi bullnose detail and 10mm pencil round rebate. Grade C40 concrete is to be used. All terrazzo mixes and samples were approved prior to manufacture by Southampton City Council engineers and the project artist (me). The seats are reinforced throughout to A393 with 10mm welded bar mesh. Bottom mesh to full cover. Top mesh localised cover only to ‘hot spots’. All grit polished to a fine 120 honed finish, chemically sealed with anti-graffiti finishes approved by SCC.

5 No. 3000m x 700mm x 140 lozenge shaped benches were also manufactured, each with inset text. Both bench types have stainless steel leg supports, 316 SS spec.

The benches were positioned at relevant site along London Road, which related to past events and distant voices as well as lost buildings.

Text from an old St Paul’s Parish Magazine reflected the local community. Image: Christopher Tipping by permission of Southampton Local Studies & Maritime Library.

Above: Ordinary lives and everyday events were recorded in a series of surviving Parish Magazines form St Paul’s Church. These distant voices of a local community and Parish still seem fresh and lively.

The manufacture of the bespoke terrazzo benches was carried out by Quality Marble (Pallam Precast) at their works in Enfield, London. The moulds were all made by hand and cast by hand too. Image: Christopher Tipping

Lozenge Terrazzo seat on London Road, Southampton 2008. “the spirit of the townspeople is unbroken – December 1940′. Image: Christopher Tipping

Lozenge Terrazzo seat on London Road, Southampton 2008. “Mile End, 6 hours, Saturday 30th November 1940′. Image: Christopher Tipping

‘Naked Street takes National award. Southampton’s new ‘naked street’ in London Road has picked up a national award for the Best Urban Transport Design from the Chartered Institute of Logistics and Transport, regarded as one of the top industry awards 2010.

This is a significant boost for the naked street concept, the principles of which promote a balance of traffic movement and social uses of public spaces. London Road in Southampton was stripped of road signs, given ‘informal’ road signs, and widened footpaths. The scheme has already had a positive impact by decreases in serious injury accidents and a reduction in vehicle speeds. Living Streets believe that schemes which use naked streets principles have great potential to make our streets safer and more people-friendly, by changing the behaviour of all road users for the better. London Road in Southampton is a good example of a scheme that has improved safety and ensured accessibility.

This scheme has also been chosen by the Department of Transport (Dft) as an example of best practice and will be included in the Dft’s national design document ‘Manual for Streets 2.’

Highly Commended: London Road, Southampton

Solent Quality Places Design Awards 2010

Sponsored by PUSH, the Solent Design Awards are all about the encouragement of Quality place-making: schemes that create special places, lift communities, create richer experiences …not just iconic buildings but also the places in-between, the carrier spaces for our daily lives.

Street scene on a regenerated London Road following the project completion in March 2008. Image: Christopher Tipping

Sexfoil Terrazzo seat on London Road, Southampton 2008. Image: Christopher Tipping

St Paul’s Church, London Road, Southampton 1890. Image: Southampton Local Studies and Maritime Library & Southampton Archives

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

WINCHESTER STATION APPROACH – PART 8 – A CHANGE OF DIRECTION

November 12, 2019 Christopher Tipping Leave a comment

At the beginning of August 2019 I was issued with a much simplified plan of the public realm proposals by LDS Architects.

August 2019 Public Realm Plan for Winchester Station Approaches. Image: LDS Architects (cropped & annotated).

Above: This image – a cropped version of the plan drawing issued by LDA, shows the principal public realm and station access roads. The previous concept proposal for the public art benches and interpretation following the radial plan as previously illustrated was no longer viable, but the strong horizontal banding across the station forecourt still provided a viable grid and scaffold upon which to set out my ideas.

I have always been in favour of using sandstone as the principle paving material, as this has history with the city, plus in terms of colour and appearance, seems much more sympathetic to the fabric of the site and its low level & undemonstrative railway architecture, rather than big city, corporate use of granite for public realm.

Sandstone Paving – Public Realm, Francis Crick Institute, London. Image: Christopher Tipping

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

Stone paving and ceramic tiles from the interior of Winchester Cathedral. Image: Christopher Tipping

We could explore the use of varied sizes of paving slab, within a manageable modular framework. The stone paving in the Cathedral for example, exhibits a wide range of slab size, from a small unit square Purbeck Stone tile – which appears to have been the principle paving material – to the larger and unique Ledger (memorial) Stones in Tournai Marble & other stones.

Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping

Detailed & annotated concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping

Above: Both images explore the possibilities of embedding interpretive Public Art elements within the revised LDS Public Realm proposal – seating, paving and retaining structures bringing an original and creative interpretation to the site. Working within the proposed LDS scheme, seating could be positioned at intervals along the parallel banding, using these lines as the principal interpretive parameters.

Concept study for a cast Iron paving panel with low relief text. Winchester Station Approaches. Image: Christopher Tipping

The key in the plan above outlines the use of:

Sandstone for main paving of the forecourt –

Cast Iron elements with low relief text and / or motifs set within the parallel banding in the paving & an extra wide kerb detail . There were several Iron Foundries in Winchester, which served the Railways –

Porphyry Paving for the primary parallel banding –

Bespoke Benches or ‘Perches’ –

Possible sandblasted, inlaid or etched surface patterns to the sandstone paving – employing super-graphic motifs inspired by the medieval ceramic tiling within the Cathedral –

Granite, Cast Iron, Cast Concrete or Steel defensive barrier structures which can double as seating or ‘perches’, following the radius curve of the highway. These are modelled on cross sections through stone piers in the Cathedral. –

Draft artworks playing with text, texture and the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping

Black & white motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Image: Christopher Tipping

Detail: Concept study proposal for paving and seating within the public realm & approaches of Winchester Station. Artwork: Christopher Tipping

Detail: Plan drawings of Winchester Cathedral taken from ‘The Grid System & Design of the Norman Cathedral’ by Eric Fernie.

Pier Sections: Winchester Cathedral. Detail: Section drawings of Transept & Nave Piers of Winchester Cathedral taken from ‘The Grid System & Design of the Norman Cathedral’ by Eric Fernie.

Pier Section study. Winchester Cathedral. Image: Christopher Tipping

Pier Section studies Winchester Cathedral. Winchester Station Approaches Project. Image: Christopher Tipping

Concept & site interpretation studies for seating, barrier structures and public art, based upon pier sections from Winchester Cathedral for Winchester Station Approaches public realm. Image & Artwork by Christopher Tipping

Black & white motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Used as large scale decoration on a proposal for a monolithic stone bench. Image: Christopher Tipping

A decorative motif based upon a medieval ceramic inlaid tile at Winchester Cathedral. Used as large scale decoration, either inset or sandblasted, on a proposal for a monolithic stone bench. Image: Christopher Tipping

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

WINCHESTER STATION APPROACH – PART 7 – WELCOME TO WINCHESTER

November 12, 2019 Christopher Tipping Leave a comment

In June 2019 I was issued with early draft plans for the public realm proposals at the Station by LDS Architects on behalf of Winchester City Council. I proposed to add a layer of creative interpretation to these plans, based on my contextual research and employ the setting out details within the LDS plan as a secure foundation into which I could set my public art concept drafts. My proposal was always going to be about utilising the need for paving, seating, retaining walls and other practical details of public realm highways engineering to keep visual clutter at a minimum. This would also be more economic in terms of budget use and future management and maintenance.

Concept & interpretation draft studies for seating and public art for Winchester Station Approaches. Base detail plan drawing by LDS Architects. Image & Colour Artwork by Christopher Tipping

Above: The Station building is on the left of this plan drawing (as seen from above). The plan for the public realm is primarily a sequence of parallel horizontal bands (green) delineated in the paving, which flow downhill from the Station towards City Road and another series which flow uphill along Station Road. However, this baseline geometry is combined with a radial pattern (also in green) which expresses the radius curve in the highway as it transitions from Station Road to Station Hill. This radial pattern provides the anchor for a series of seats (red) and secondary barrier structures (blue). These are concept ideas only – and not designs.

Concept & interpretation studies for seating and public art for Winchester Station Approaches. Base plan drawing by LDS Architects. Image & Artwork by Christopher Tipping

Above: This concept study shows a series of interrelated structures – which could be seating, walls, barrier structures or paving – set out in a radial pattern. These forms are presented as interpretive devices which exhibit combinations of materials and motifs, which seen together in this way embody ideas and responses developed from the contextual research I have undertaken.

Draft form for seating or paving. Terrazzo with exposed polished flint. Image: Christopher Tipping

The building materials of Winchester. Image: Christopher Tipping

Draft forms for seating or paving. Terrazzo with exposed polished flint. Image: Christopher Tipping

Draft forms for seating or paving. Monolithic Stone with laminate stone extensions & inset text or applied pattern. Image: Christopher Tipping

Detail of Illuminated Initial in Gold. Winchester Bible Illumination. Copyright Winchester Cathedral. Image: John Crook

Above: The Winchester Bible is regarded as the largest & finest 12th century Illuminated Manuscript. The script is by the hand of a single monk scribe from Winchester. However, the magnificent illuminations were often drawn and painted by itinerant artists – lay professionals who travelled between monasteries and centres of learning. These Illuminated Initials have been inspirational, as has the Morley Library, of which the Winchester Bible is a part. Bishop George Morley bequeathed his collection of rare books to the Cathedral in the 17th Century. His collection is also monogrammed.

Draft artwork playing with text & the texture and pattern of knapped flint. Image: Christopher Tipping

Draft artwork playing with text as illuminated initials & the texture and pattern of knapped flint. Image: Christopher Tipping

Draft artworks playing with text as illuminated initials & the texture and pattern of Winchester building materials. Image: Christopher Tipping

Above: Polished flint terrazzo circle with inset letter ‘W’ in Swedish Marble with sandblasted detail, resin bonded in white.

Draft artworks playing with text, texture and the richness of architectural decoration in Winchester. Image: Christopher Tipping

Above: Plan study (meaning ‘seen from above’)of a monolithic sandstone bench with a flat seating surface with the inset letter W and Circle motifs in flint aggregate terrazzo. Below: Sandstone & Flint are primary building materials in Winchester.

Sandstone is a primary building stone of Winchester. Image: Christopher Tipping

There is one sample of Swedish Marble in Winchester Cathedral. A Ledger Stone for the daughter of Sir John Clobery. Image: Christopher Tipping

“Of particular interest is the ledger stone (memorial) of Francisca Clobery, the daughter of Sir John Clobery. She died in 1683 and her grave is in the south aisle of the Retrochoir, in front of her father’s monument. It is of a distinctive Ordovician limestone (around 465 million years ago) from the Island of Öland, Sweden, containing the straight-shelled Nautiloid.” from ‘Winchester Stone’ by Dr John Parker 2016. ‘John Parker studied geology at Birmingham and Cambridge universities. He is a Fellow of the Geological Society of London. For over 30 years he worked as an exploration geologist for Shell around the world. He has lived in Winchester since 1987. On retirement he trained to be a Cathedral guide’. John has personally shown me around the Cathedral and pointed out many geologic wonders and quirks.

190507 BENCH laminated 1 Winchester Station Approaches. Christopher Tipping — Draft artworks playing with text, texture and the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping

Above: Studies for objects (seating?) in Timber, Sandstone and Swedish Marble employing techniques of inlay, lamination, polishing and sandblasting.

Draft artworks playing with text, texture and the richness of architectural decoration & materials found in Winchester. Image: Christopher Tipping

Above: Study for two concept benches in monolithic black Tournai Marble with inlaid detail and laminated stone additions of Swedish Marble.

Ledger stone of black Tournai Marble with carving in Winchester Cathedral. Winchester Station Approaches. Christopher Tipping

Detail: Carved figures from the 12th Century Tournai Marble Font. The building materials & memorials of Winchester Cathedral. Image: Christopher Tipping

Draft artworks playing with text, texture and referencing the richness of architectural decoration & materials in Winchester. Image: Christopher Tipping

I hope to investigate manufacturing processes which allow stone to be cut, laminated, decorated and finished in a manner which embodies the richness of the Cathedral interiors and it’s ongoing repair and regeneration – BUT – in a functional manner, either as seating etc or as a method of improving wayfinding for visitors.

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

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. 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, Rochester, Rochester Riverside

Rochester riverside – public art in production – hardscape england – part 2 –

November 6, 2019 Christopher Tipping Leave a comment

Oh my word…we’re on a roll in production up at Hardscape in Bolton.

These images are hot off the press, as skilled stone specialists at Hardscape 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 Properties. This work needs to be handled with care and demands high levels of craft skills. Hardscape have been excellent at providing creative collaboration .

Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

Artwork for bespoke detailed granite Public Art Unit ‘WALRUS & NELLIE’ in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

Above: This is the ‘&’ from ‘WALRUS & NELLIE’. Water jet cut into a slab of Red Shiraz Granite 900mm x 300mm x75mm. It is awaiting the inlaying of the circle of yellow Amarelo Real Granite. It looks amazing. WALRUS & NELLIE were the names of two portable aggregate conveyors loading stone and cobbles on and off barges at Cory’s Wharf, Blue Boar Hard.

Above: This is the laser etched ‘DUNLIN A SALTMARSH BIRD’, , waiting to be water jet cut from its slab of beautiful Carlow Limestone & inset into a slab of red granite. See image below, where the DUNLIN has been partially cut out from the block in concentric linear patterns. This is a complex unit, with other letters inlaid. Precision is key. These beautifully crafted objects embedded in the landscape, will be a gentle reminder of the natural, social and industrial history of the site.

Detail: ‘DUNLIN A MARSHLAND BIRD’. Bespoke granite water jet cut motifs. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

Artwork for ‘DUNLIN’. This motif is to be Laser Etched onto a Carlow Limestone slab, then cut out and inlaid into a red Shiraz slab. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

Artwork for bespoke detailed granite Public Art Unit ‘DUNLIN A MARSHLAND BIRD” in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

’15 BARGES STARTED THE RACE 1930′. Sandblasting underway with delicate handling of the vinyl stencils required. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

Artwork for ’15 BARGES STARTED THE RACE 1930′.Bespoke detailed granite in Kobra Green & Shiraz. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

‘RUSSET BROWN & OCHRE SAILS’. Sandblasting underway with delicate handling of the vinyl stencils required. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

Artwork for ‘RUSSET BROWN & OCHRE SAILS’.Bespoke detailed granite in Kobra Green, Amarelo Real & Shiraz. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

‘SPRITSAIL BARGES’ & ‘FIVE BROTHERS’. . Sandblasting underway with delicate handling of the vinyl stencils required. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

‘SPRITSAIL BARGE’ . Detailed sandblasting underway with delicate handling of the vinyl stencils required throughout. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

Drawing of a Spritsail Barge, used on the River Medway and of a type originally built on our site at Rochester Riverside in the 19th Century. Image: Christopher Tipping

Artwork for ‘SPRITSAIL BARGES’. Bespoke detailed granite in Kobra Green, Amarelo Real & Shiraz. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

Artwork for ‘THE FIVE BROTHERS”. Bespoke detailed granite in Kobra Green, Amarelo Real & Shiraz. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

‘SHELDUCK’. Laser Etching of a Shelduck on a Carlow Limestone slab underway with delicate handling of the detail required. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Hardscape

The laser etched image of the Shelduck will now be water jet cut out of the Carlow slab and the motif inlaid into a slab of Kobra Green Granite, which has the shape of the bird already cut into the surface.

Interesting to note also that the Carlow Limestone has beautiful fossil shells embedded. Also note that these are not my feet, they probably belong to Pedro, who is overseeing and also working on my project. Without skilled people like this, I would be lost !

Artwork for ‘SHELDUCK’. This motif is to be Laser Etched onto a Carlow Limestone slab. Bespoke detailed granite Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

Artwork for ‘SHELDUCK’. Bespoke detailed granite in Kobra Green & Carlow Limestone. Public Art Units in production at Hardscape England, Logistics North, Bolton for Rochester Riverside and client Countryside Properties. Image: Christopher Tipping

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

WINCHESTER STATION APPROACH – PART 3 – Lessons from history

November 5, 2019 Christopher Tipping Leave a comment

WINCHESTER CATHEDRAL

Have you ever thought what is up there, caught between the vaulted ceiling and the external roof? It was this hidden void in the attic, described as ‘a forest‘ , which so disastrously burned at Notre Dame in April this year. On Wednesday 19th June this year I ventured up the Tower of Winchester Cathedral to reach the same space. I have really wanted to venture into this cavernous space – between the 14th & 15th Century vaulted nave we see in the image above and the original massive timbered roof for years. This complex structure is what pilgrims and locals would have seen & looked up into prior to the nave being constructed. It is the most amazing floating world – a dark void – a medieval secret.

Massive Oak timbers in the roof void of Winchester Cathedral Image: Christopher Tipping

Above: This is the timber walkway inside the void space, which sits atop the massive oak beams which cross the nave . The walkway disappears into the bell tower and Norman part of the Cathedral. Images do not do this space justice! This is the longest Medieval Cathedral nave in Europe. The Lierne Vaulted ceiling of the nave lies just below the cross beam timbers.

Human touches in the roof void of Winchester Cathedral. There is a story to this image, but I have forgotten it ! Image: Christopher Tipping

Human touches – centuries of scratched graffiti decorate the stone window tracery in the roof void of Winchester Cathedral. Image: Christopher Tipping

It got in but didn’t get out. Racing Pigeon in the roof void of Winchester Cathedral. Image: Christopher Tipping

The bell ringing chamber of Winchester Cathedral Image: Christopher Tipping

Details in the bell ringing chamber of Winchester Cathedral Image: Christopher Tipping

‘The cathedral possesses the only diatonic ring of fourteen church bells in the world. The back twelve were all cast by John Taylor & Co in 1937. They were augmented to fourteen when two new bells were added in 1992 by the Whitechapel Bell Foundry. ‘One bell was cast by Anthony Bond, an itinerant Founder in 1621.’ Wikipedia Ref

Up in the Bell Tower of Winchester Cathedral Image: Christopher Tipping

Above: This image shows Norman stone carving high up in the Bell Tower. Quite amazing to get so close to it. The stonemason’s tool marks so fresh still.

Interesting patches and and repairs to the lead sheeting up on the roof of Winchester Cathedral Image: Christopher Tipping

Up on the roof – the views are pretty spectacular. Winchester Cathedral Image: Christopher Tipping

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

WINCHESTER STATION APPROACH – PART 2 – June 2019

November 1, 2019 Christopher Tipping Leave a comment

These sketches and studies below are part of a series of early drafts and drawings, which were completed in June this year. They were derived from contextual research and concept design development for the generation of the interpretive public art elements at Winchester Station. Several versions of this initial research have been submitted for discussion and comment.

Draft concept visuals for Winchester Station Approaches. Images: Christopher Tipping

Plan view of the Station approaches. Image: Christopher Tipping

These early drafts considered an ‘all-over’ repeating pattern for natural sandstone paving, influenced by the Cathedral’s extant 13th Century medieval inlaid ceramic floor tiles – and used here as a super-graphic motif. At this time I was not responding to any masterplan proposals from the client’s Architects and Urban Planners LDS – as these had not yet been circulated for discussion. The ideas were formulated in response to my own research in the city and now form the foundations of my project approach.

Concept drafts for repeat pattern paving influenced by the Cathedral Medieval Tiled floors. Image: Christopher Tipping

Concept drafts for repeat pattern paving influenced by the Cathedral Medieval Tiled floors & built environment. Image: Christopher Tipping

A page from my research document June 12th 2019. Image: Christopher Tipping

The building stones of Winchester are hugely influential when looking at the interpretation of place and the significance of the Station as a gateway to the City. Although granite has been used here, local sandstones and limestones with flint and brick dominate.

The low lying architectural scale and presentation of the Station buildings, warrant a softer frame with regard to paving. Sandstone fits this bill. Granite being perhaps too corporate and ubiquitous for this site.

The City has a strong tradition of procession and pilgrimage, which reinforces notions of way finding and direction, arrival and departure, as well as the physical experience of walking and the materials you are walking upon.

ARCHIVE PROJECTS - REVISITED, Blog, Healthcare Projects, Salisbury District Hospital

Salisbury District Hospital 2006

March 18, 2019 Christopher Tipping Leave a comment

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

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

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

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

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

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

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