A Library Full Of Dead Trees
Reading material in Crawley’s brand new library building is not restricted to the pages of the books on its shelves, thanks to a series of typographic tree sculptures created by artist Gordon Young and a team of collaborators that includes design studio Why Not Associates...
The striking, cracked trees, 14 in all, are situated throughout the library building and are installed vertically, flush to the floor and ceiling to resemble supporting, structural pillars. Each tree is, in fact, a real oak trunk and displays carved passages of text from literature within the library, the typeface of each passage chosen carefully to suit the nature of the text – which is where Why Not Associates comes in.
“We worked with the selected passages of text, choosing typefaces and designing the layout,” says Why Not’s Andy Altmann of the studio’s role in the making of the Crawley Trees. “Because there were 14 trees to do, all of us in the studio got to do one.”
Young and Why Not have been collaborating on art projects since 1998, following a chance meeting five years earlier in 1993 between Young and Altmann at an arts event in Hull. “I had been working on a job that was a fish pavement installation in Hull – an A–Z of fish varieties embedded in the pavement throughout the town,” recalls Young. “Andy had got the job to create all the promotional material for the arts festival that we were creating the Fish Pavement for, so he’d been doing the posters and the marketing materials for the theatre and concert performances. And it was at the launch of a Shakespeare play in northern dialect that we actually met. I’d seen the graphics he’d done for the festival and he had seen the fish pavement work and Andy said, ‘next time you’re in London, come in’.”
The pair have been friends ever since and worked on over a dozen art installations, several of which have been featured in the pages of CR. “To collaborate interests me a lot,” says Young. “To collaborate with Andy and Why Not is dead easy because of the shared points of reference, the shared culture. There is, I think, a respect for each other’s skills and abilities – there’s an empathy.” Altmann sums up their relationship slightly more tellingly: “He’s a Leeds fan and I’m a massive Manchester United fan so we hated each other as soon as we met.”
“We get on,” Young concedes, “even when we’re talking about things that have nothing to do with art. We’re both interested in football and culture – he can tell me off or put me to rights on stuff. For example, I think The Smiths are shit, but Andy will justify his opinion that they’re not bad. The point is we have shared cultural reference points. So if I mention Kurt Schwitters I would bet that both of us have books on Schwitters at home. We can have a conversation about loads of stuff and we’ll know what each other is talking about.”
The text to adorn the trees was chosen by the users of Crawley library, thanks to research done by Anna Sandberg. “She was another key collaborator and did all the workshops with the people [of Crawley] to point us in the right direction in terms of sourcing textual content,” says Young. “She also put hundreds of questionnaire postcards in books all over the library and we got hundreds of replies naming favourite books and passages and thoughts about what was good literature”
Thinking back to that job in Hull, Young stresses its importance to his development as an artist. Young found himself working with a team of artists with the collective skills to get the fish pavement done. Previously he tended to work alone on large scale carving projects. “We started introducing lettering into the pieces we were creating in Hull because one of the lads in our team, Russell Coleman, had been taught as a letter cutter by his dad who was a stonemason. And actually he got involved with the project because he saw us working in the street in Hull, came up to me and said, ‘I could do that’.”
Coleman still works with Young, and alongside Why Not, he was a crucial collaborator on the Crawley Trees project. It was Coleman, Young reveals, who sorted out the “technical problems”.
One of said problems occurred when it came to sandblasting the tree trunks (the type on the trees isn’t carved but sandblasted out of the wood). “You put a kind of vinyl onto the wood and peel the cut lettering out of it,” explains Altmann of the process. The idea is that the particles of grit eat into the wood but bounce off the vinyl, resulting in the ‘carved’ lettering. It sounds straightforward in theory but, when Coleman and Young first attempted to sandblast the wood, the grit just bounced off it. “So we turned the air pressure up,” adds Young, “but what happened is the grit then ate into the vinyl that provides the stencil through which we were sandblasting.” Disaster? No, Coleman was able to source a specific grit and a heavier duty vinyl and then fine tune the air pressure to get the job done.
“While it might look simple, we couldn’t believe the technical complications in the job,” says Young. “Still, when you work with natural materials like stone and metal and wood, you learn this kind of stuff all the time. In every job we do there’s an element of research and development. There’s a learning curve and we carry our knowledge through from one job to the next.”
The typography almost looks a part of the tree. Impressive use of an original media form, although the actual library looks very typical...
Wow... I could just sit and stare at that all day. Good thing it's not in my house. I wouldn't get anything else done. ;-)
check out the real stuff made with hands....
@xela - just because those are made 'with hands' doesn't make it anymore 'real' than these pieces. both sculptures used tools in the creation of the piece. now if the pieces were made purely by hand, fingernail and brawn style, that might be unique...
It's wasted on Crawley! 70% of the population don't know how to read!
They certainly put a lot of thought into the design of the new library generally, save the idiotic decision to not include wireless internet, the carved trunks being the absolute star of the new show. Bravo to the person(s) who made that decision!
Wow how interesting! This is something that I would love to see in my house. The typography that was picked is absolutely beautiful. I will be posting a link back to this article in my own blog. Thanks for sharing this with us.
Fantastic idea. Why can't more town and cities be this adventurous with their libraries - local council and planning departments are just so safe!
"It’s wasted on Crawley! 70% of the population don’t know how to read!"
Where do I start?
Maybe with that I am astonished that CR decided to publish such an arrogant, flippant and frankly unqualified comment in the printed version of the blog. With attitudes like that no wonder the creative industry is often viewed as aloof and elitist from the outside.
In terms of accuracy, how is that percentage being measured? The town has a huge immigrant population so I could question what you are trying suggest? Let's not go down that road though and instead point out that Van de Burgh Foods, Heron Suzuki and Virgin all have thier head office there. Would their employees rank amongst the lucky literate 30%? Let's hope so next time any of us are trying to win a pitch with them. Maybe someone in planning could run that assumption past the respective MDs and see if they can prize the account away from the appointed agency upon the strength of understanding within the local demographic and sensitivity to cultural issues.
What a truly amazing and inspiring project.
this is just great. i would go there to stare at these beautiful masterpieces for maybe hours and hours!
wonderful work, you guys are stunning! thanks for sharing the process with us.
id like to see pictures of people going round the trees making out the sense of the words :)
|What a soldier carries (5)|
|What a failed pitch looks like (2)|
|D&AD releases 2014 Annual cover (9)|
|Is that your reversed-stress face? (2)|
|New Dulux ad imagines a world without colour (15)|
|The House of Vans opens in London's Old Vic Tunnels|
|How a Brazilian street artist and a Leeds design studio created Coke's World Cup identity|
|Designing for The Grand Budapest Hotel|
|Fresh Faced + Wild Eyed 2014|