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This sculpture will commemorate the close relationship the staff and administrators of the Royal Newcastle Hospital had with the Surf Lifesaving Club and Newcastle Beach. |
1. Nautilus
by Geoffrey Bartlett |
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This work has arisen from a study of shell structures. This investigation has developed over a ten-year period of exploration. My first interest began with the observation that man made structure, mimics nature. The shell in their various forms, are an infinitely varied natural phenomenon that man made structures, along with my sculptures, draw reference from.
Specifically this work refers to the nautilus shell; with its strength and delicacy they are one of the most emblematic of all shells. A sculpture that refers to shells has an immediate connection with Beach sites.
The sculpture is open formed, allowing light to penetrate whilst not obstructing the passer-by's view of the beach and its environs. The spectator will be drawn to the work but will look through it to the view beyond.
I would intend to light the upper shell form internally with a soft colour, allowing the work to appear to hover lightly over the forecourt at night.
The works would be made of 316 stainless which would provide an almost maintenance free outcome and would not be able to be climbed upon, with the main body of the work to be well above head height. |
| Materials: Stainless Steel |
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2. Beach House
by Marguerite Derricourt |
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This sculpture is a three and a half meter high rendition of the skeletal form of a shell. It will be fabricated in marine grade stainless steel in varying diameters, powdercoated with a blue/grey metallic finish.
3 LED low wattage lights will be situated at the base of the sculpture.
The shell is a house, a dwelling, a refuge from the natural and animal world. A beautiful geometric internal structure gives shape to the shell's outer carapace, as the internal frame of a building gives support and form to the outer structure of a building.
The hospital is a refuge from the world, where the sick are protected and cared for. The RNH had a wonderful position opposite the beach where the staff and patients had the benefit of the healing qualities of the waves and the landscape.
At night, the light within the structure will glow and be seen from afar, like a beacon or lighthouse, revealing the structure within.
The connection between the sea and the hospital is symbolised by the shell which has been washed up on the beach. |
| Materials: Stainless steel round bar, marine grade. LED lights. |
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3. Lifeguard Tower
by Richard Goodwin |
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At first glance this sculpture does appear to be a lifeguard tower or something similar for seeing a long distance.
The tower itself is pink like pink zinc cream and has a lookout box, but there the analogy ends. It is unoccupied and forms a light source and meeting place at night. Its structure is dynamic and insect-like. Its little roof wing will hold solar cells to assist in the lighting load and pay homage to sustainable design. Although seemingly anachronistic or out of place it will fill the spaces with a sense of beach culture. |
| Materials: Steel, zinc rich paint or powder-coat finish, fibre glass with a new vitra paint finish |
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4. Returning Figures
by Greg Johns |
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A number of slender wave, reed like forms weave their way through the courtyard. I intend with this installation work to bring a sense of the sea into the interior courtyard of the site. The 3-5 forms reflect both in form and layout a sense of the sea landscape, which the community clearly connected with.
The slender forms would be made from both Corten and Stainless Steel. They would catch the light at the top of each form where stainless steel is used. I would also expect the forms to quiver slightly when there are stronger winds. The forms would also at various points in the courtyard overlap. There is also sense of returning about this work, of reoccupying a space in a gentler/subtler way, a reference to indigenous culture.
I see this as a poetic work which would utilise the whole space, in a subtle, but not overcrowding way. |
| Materials: Corten and/or stainless steel |
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5. 000
by Jasper Knight & Isabelle Toland |
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"000" is the number for emergency - a call out for medical help. Three life rings with the classic hospital cross of red on white reference the fact that the doctors and nurses of the Royal used to volunteer as surf life savers at Newcastle beach. Whilst symbolic of this historical connection between the hospital and the beach, the stone rings equally have a functional aspect of providing public seating on the extensive plaza area - relating directly to the surrounding cafes and proposed shaded bench areas.
The image of this proposal shows the possibility for one of the rings to be used as one of the benches around a tree - connecting the work more directly with the landscape design of the development, but the rings could easily be placed more within open areas of the site if this was not considered possible. |
| Materials: Hand finished white Carrara marble with inset red enamel. |
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6. Recovery
by Vlase Nikoleski |
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My proposal uses the surfboard form as a universally recognised symbol for the beach. This simple but dynamic form is further simplified in stone so that the visual image of stone form and cast bronze shadow also represent a sundial. The stone surfboard form will be carved out of one single block of Pilbarra marble with the completed dimensions of three metres high x one metre wide at the widest point x one half metre thick at the thickest point.
The imprint of a single stethoscope close to the base of the surfboard will emphasise the medical theme while the imprints of differently shoed footsteps will represent the many doctors, nurses and patients who passed through wards of the old hospital. |
| Materials: Pilbarra Green Marble, Cast Silicon Bronze |
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7. On Duty
by John Petrie |
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The sculpture represents a response to the anecdote presented on the Interpretation Theme - When there was an emergency in the hospital or the doctors and nurses were required in the operating room, a colleague would hang a towel over the balustrade or window sill of the hospital as a signal that they are needed.
The towel will move in the wind. This will be facilitated by an unrestrained rotating joint or ball bearing system incorporated into the cross bar at the top of the sculpture.
The sculpture will be made from marine grade 316 Stainless Steel. Both the suspended 'towel' and supporting structure will be polished to a mirror finish. This finish will unify the various components of the structure and provide the overall aesthetic.
As it moves with the wind the reflective surface of the 'towel' will pick up and distort (because of the curve) the surrounding features such as adjacent buildings, trees, pedestrians, sky and sea. This will create a dynamic visual repertoire, not only for visitors to the plaza, but also to the many residents.
The work will stand 6 metres high. |
| Materials: Highly polished 316 Stainless Steel |
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8. Sun on the Royal
by Paul Selwood |
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The sculpture implies a metaphysical building. Through this representation it conceptualises elements of The Royal Hospital's location and functions in a number of ways: the three intersecting vertical planes of the sculpture combine to synthesise the interior life and exterior architectural structure of the hospital with the surrounding landscape.
The sculpture aims to encapsulate the spirit of the Royal Hospital through an abstract poetic gesture that also provides a contemporary focus which harmonises with the current uses and architecture of the site. |
| Materials: 30mm Steel Plate, Mounted on a Circular Honed Concrete Base. |
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9. The Meeting ... Like Ships in the Night
by Braddon Snape |
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The Meeting... Like ships in the night conjures a metaphor that links the imagery of vessels (ships) and the sea with new function of the site - as a place of meeting - of connecting - with each other and with place.
The vessels allude to the maritime environment and may be interpreted as parent and child, or lovers meeting within the intimate space of The Beach site.
Also, of contextual significance is the subtly implied narrative established with the co-existence of The Yearning at The Promenade site and The Meeting at The Beach site. |
| Materials: Fabricated stainless steel painted white. |
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10. Vigil
by Michael Snape |
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Replace the light (as designated), with a light sculpture which functions equally by day as a sculpture. Place in the space to maximise sense of clarity and lack of congestion. Made from 6mm laser-cut and rolled painted steel.
The work would be 3.5 metres tall and have a 90cm diameter. The same imagery and reference would be applied as with the Promenade Sculpture except not unfurled and viewed from different angles, but furled, loosely bound like a bandage, comfortable and easy. The sculptures are related then to form a continuous language of sculpture, light and screen and do not distinguish themselves as separate from the building environment. The lighting is set into the top part of the cylinder so as not to blind those looking from above. The bottom of the cylinder is sealed and comprises a safety zone/height. Lighting would be in partnership with Neoz Lighting. This guarantees the desired light dispersal. |
| Materials: Steel |
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