This short creative contract to research and develop concept-led proposals for design interpretation and public art for Winchester Station Approaches has now completed.
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.
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.
At the beginning of August 2019 I was issued with a much simplified plan of the public realm proposals by LDS Architects.
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.
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.
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.
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. –
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.
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.
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.
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.
Above: Polished flint terrazzo circle with inset letter ‘W’ in Swedish Marble with sandblasted detail, resin bonded in white.
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.
“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.
Above: Studies for objects (seating?) in Timber, Sandstone and Swedish Marble employing techniques of inlay, lamination, polishing and sandblasting.
Above: Study for two concept benches in monolithic black Tournai Marble with inlaid detail and laminated stone additions of Swedish Marble.
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.
Station Hill leads up to Winchester Train Station from the busy junction of Stockbridge Road, City Road, Andover Road and Sussex Street. Swan Lane also joins here. The site has been historically known as Carfax, meaning the meeting of roads. The Carfax Hotel, formerly on the site now occupied by the Hampshire Records Office took its name from this historic site. The Masterplan proposals for this whole site, developed by Winchester City Council’s Consultants Lifschutz Davidson Sandilands Architects, is referred to as the Carfax Site. and incorporates the Station Approaches & public realm.
Station Hill today doesn’t give much away about it’s local community or life as a lively neighbourhood, but this wasn’t always the case.
I will try to add to this post throughout the project as new research throws up characters and stories.
Above: Warren’s Street Directories, held in the Hampshire Records Office on our doorstep, lists street by street, almost everyone who lived at each residential property. If this was a business, then it lists the nature of the business, as well as the people who owned it. A wonderful archive. The books also contain the most interesting advertising for local products and services, mostly & brilliantly illustrated.
The Train Station is seen above in the bottom left quadrant. Roger Brown’s model was based on the OS Map of 1873. Roger had been a Planning Officer for Winchester City Council.
Some key building are still extant , such as the Station and the South Western Inn, formerly the Railway Refreshment Inn – & up until 2015, Winchester Register Office. The Carfax Hotel is visible on the junction of Station Hill & Sussex Street. The terraced houses of Gladstone Street are there too, but the Reservoirs of the Sussex Brewery, seen on the OS Map of 1870 now appear to be allotment gardens. Needs a bit more investigating to discover what the reservoirs were for. I can’t find any reference to the Sussex Brewery.
Above: A bit blurry…but nonetheless the Station and Public House are clearly shown. A narrow footpath leads to Sussex House just beyond the Station in this image. A lovely circular garden feature can also be seen just left of the Station forecourt behind a fence. I wonder if this was a public or private space?
Above; At centre is the Carfax Hotel building on Station Hill and Sussex Street. This important crossroads, (or Carfax), shows a complex junction of City Road, Swan Lane, Station Hill, Andover Road and Sussex Street. Looking rather genteel – and not the complicated crossing for pedestrians we experience today.
By 1970, the Carfax Hotel, first named in 1918, had fallen into disrepair during the 1960’s. It had been taken over by the King Alfred Teacher Training College as student accommodation. However, it was demolished in 1972 as part of a road improvement scheme.
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.
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.
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