One of the most striking & singular elements of the interpretation project at Burgess Springs, Central Chelmsford is the large granite platform seat.
This feature is some 2.4m square & manufactured in 4 large units. The surface is being sandblasted with images and text, both inspired by the writing of Anne Knight of Chelmsford.
The granite artwork is being project managed by Nigel Hudson, Masonry Product Manager for Hardscape at their premises at Long Marston, Stratford Upon Avon. The sandblasting is being carried out by Masonry Manager, Vladimir Zonozicka. We have met several times to discuss and sample the process & the collaboration has in turn, resulted in a much more interesting peice of work.
Thursday 13th November 2014saw the last black basalt slab installed on Blechynden Terrace to complete the ‘Canal Shore’artwork installation.
Left to right – Martin Miller and Jay Geary of Balfour Beatty, who have together installed all the 205 linear metres of the kerb edge artwork – which was manufactured and inlaid with text by Hardscape – along Blechynden Terrace and the forecourt of Central Station.
This almost – but not quite – completes the Phase 1 works for the Southampton Station Quarter North project being delivered by Balfour Beatty Living Places for Southampton City Council. This project is one of seven ‘Very Important Projects’ (VIP’S) & part of its City Centre Master Plan which will see one of Southampton’s most important gateways transformed into ‘an exciting arrival experience fit for a major city.’
Some more images of works in progress:
The site, adjacent to the shoreline of the Test Estuary has always been a point of confluence. The main route West in & out of the city ran along the shoreline and was known as The Strand. At a point marked by Achards Bridge, which replaced an ancient ford across the Rollesbrook Stream which enters the River Test at this point, the city boundary with Millbrook was established.
Today this site is near to the entrance to Southampton Central Station. You may cross the Rollesbrook Stream yourself each time you visit the station. The station is the gateway to the city & a critical hub & interchange.
The individual lines of texts are to be set out adjacent to the carriageway on the south side of Blechynden Terrace at site specific points along the ‘Canal Shore’ feature kerb line, & reveal in their expression something of the history and use of the local area. It is not a linear ‘narrative’ and has no specific start or finish. It will engage with people as and when they encounter the words. Some words and phrases have their origin in fact and are ‘on the record’, whilst some is anecdotal and ‘remembered’.
The text on these slabs is part of the following line – ‘The historic shoreline was here in 1846…the north shore of the River Test Estuary’
The 1846 Large Folio Royal Engineers Map held in the Southampton City Council Archive, is wonderfully accurate & detailed. It shows the planned route out over the mudflats of the unfinished ‘Dorchester Railway’. The shoreline was at this time still north of this point, with the high water mark reaching to what is now, the southern footpath of Blechynden Terrace & Southbrook Road. The historic curve of the Bay here is thought to be a meander of the ancient Solent River system. SCC Libraries & Archive
August Kenzler was lost when the Titanic struck an iceberg on its maiden voyage. He was one of seven crewmen (from more than 720 from Southampton) who lived in the area bounded by our project.
John Henry Stagg – Steward – 1st Class – Lost – 66 Commercial Road
August Kenzler – Storekeeper – Age 43 – Lost – 21 (12) Blechynden Terrace
Michael Stafford – Greaser – Age 37 – No 4 Southbrook Road
Walter Edward Saunders – Trimmer – Age 25 – No1 Suffolk Sq (off Southbrook Road)
Long – Trimmer – Age 28 – No 19 Sidford Street –
William Logan Gwinn – Age 37 – No 4 Commercial Road
’70 years on…’ CENTRAL CONCOURSE SCREEN FOR THE JUBILEE BUILDING, MUSGROVE PARK HOSPITAL
I recently came across the work of the photographer, John Seaman, who had been commissioned by the main contractor for the Jubilee Building BAM to make a photographic record. Very lucky for me, that he has a great eye for catching the spirit & intent of the tensile artwork and its relationship to the building and interior space. ’70 years on…’ was a collaboration with Architen Landrell & VGL Vinyl Graphics & was commissioned by Musgrove Park Hospital Capital Projects Office & Art for Life
The Central Concourse Screen ’70 years on…’ was created to celebrate the delivery of the Jubilee Surgical Building & the 70th Anniversary of Musgrove Park Hospital. The project was Heritage Lottery funded.
The work is presented as a digitally printed tensile fabric screen made of 26 individually printed panels. It is supported by a bespoke lightweight aluminium & stainless steel double-sided ladder frame 21m x 1.8m, which is itself hung from 3 steel supporting columns of the Central Concourse building. The design & manufacture of the tensile screen and its method of digital printing balance well with the content of the work & its evocation of the past to present a contemporary artwork in a 21st Century Hospital.
The artwork is presented as a landscape, which, other than at each end, where curved steel panels protect the structure, the artwork can be viewed as a continual narrative sequence. However, this is not a timeline or a linear narrative, which has to be viewed in a particular way or from a particular viewpoint. The observer can simply roll up at any point along its 42m length and begin a journey or their own.
Text was employed in the design as both an aid to the visual narrative & to emphasize the importance of the hospital’s archive collection in this 70th Anniversary year. It also recalls individual and collective voices from the last 70 years. The work done by Louise Donovan, an archivist working with staff and patients past and present to recall their experiences working here has been included in “Sensing our Past”. 70 years of Musgrove Park Hospital’, published in 2012
Words have been used to draw with, or to conjure up the dynamic energy of the hospital. It is presented in a variety of ways, for example, following the line of the Galmington Stream, which runs along the boundary of the Hospital, or as a gestural expression, such as the whirlwind vortex drawing, or a simple circle of fine white text.
They are an eclectic and often mis-matched set of words, evocative of half remembered memories, anecdotes and stories, (as opposed to reproducing hard facts and figures within a fixed timeline). There are perhaps more ‘distant’ voices from early in the life of the hospital, particularly from it’s wartime experience, but I feel this is the way with memory – recall is distant and suggestive of the ‘good old days’.
Some elements within the artwork are obviously and easily recognizable, such as the iconic Eisenhower Tree & Galmington Stream, whilst others are abstract and elusive. A great number of the references are archival in origin, such as the colours, which were influenced by boxes of medical artifacts, some in the original packaging.
Bunches of flowers appear from between the seam joints, which evoke the Lily of the Valley presented to HM The Queen Mother or flowers given by visitors, which were held in vases attached to columns in the Nightingale wards.
The photographic archive too, which contains hundreds of images of staff at work and celebrating events such as Christmas & retirements, as well as visits by Royalty, or the American World Heavyweight Boxer, Joe Louis and the entertainer Bob Hope, who both visited the Hospital during World War II.
My own personal experience of being a part of this Hospital community since 2005, when I was appointed Lead Artist on the 10 year Hospital development programme is also evident in magery influenced by past projects undertaken here.
Works are well underway by the Ashfield Group to manufacture and supply the artwork step details to the project. The double height steps in York Stone are being inset with a darker granite text detail set into the face of the riser, which is part of the art interpretation on site. These double height steps will also have a slatted timber top, which creates ad hoc seating within the main sequence of steps at the southern end of the site. The timber will also carry cnc routed text.
The timber seating units for The Gate – a set of 6 radius benches with cnc routed text – are currently being installed at the Central Chelmsford site. The benches are being manufactured by City Squared in Leeds & installed by Ground Control. The designs were developed in collaboration with City Squared. The cnc routed text refers to the history, location and memory of the space & is defined by the adjacency of the Anne Knight Building, which has been refurbished & is considered the anchor building of the development site.
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.
The work is being manufactured and installed to my designs by Guardian Window Film.
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 ! –
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
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 listedAnne Knightbuilding, a former Friends Meeting House from 1824. Named after one of Chelmsford’s most distinguished women, Anne Knight 1786 – 1862.
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.
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.
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
The view north, towards the Station from within The Place
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.