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A substantial, innovative and iconic windmill sculpture awesome in its use of modern
materials and colour, and in its placement.
The sculpture will be seen as a substantial artistic statement, emblematic of the sig-
nificant part windmills have played in the cultural, agricultural and industrial heritage
of the landscape. Furthermore, in a world facing the threat of climate change, it will
be seen as a powerful beacon for sustainability and the vital rôle renewable energy
has to play in future energy needs.
Portrayed as ‘gigantically human’ by Robert Louis Stevenson, the windmills that
drained land, powered machines and milled grain have been distinctive landmarks
for many centuries. Despite enormous construction cost in their time, they became
an invaluable asset to rural and urban communities.Their evidence in the paintings
of so many famous British artists, such as Cotman, Constable and Crome, demon-
strates their cultural significance. However, of the many hundreds of windmills once
extant throughout the UK, only a few hundred remain, of these, only a handful in
working order.
Engineered to the highest standards, the Turning Point sculpture is a unique and dis-
tinctive design. Each sail will have illuminating elements that subtly change colour
according to ambient wind speed. Sited sympathetically in a prominent position, it
will be a structure of immense beauty. Constructed in stainless steel, the sculpture’s
tower will be of a height suitable to its location.
The sculpture will combine bold creativity with the best of modern and
innovative design.
The Vision
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It must be emphasised that this proposal is a creative statement about a sculpture
and not a technical document about a wind turbine. Nevertheless, preliminary spe-
cialist advice has been sought for the range of technical considerations necessary to
ensure the structure will be sound, and will function as proposed.
Provisional estimates indicate that the use of existing wind turbine technology in
the hub could give Turning Point a generating capacity of between 120—150 kW,
sufficient to support the energy needs of a surrounding concourse and peripheral
structures (with the potential for surplus energy to be sold). Furthermore, the
integrity of the sculpture’s design and aesthetics will determine the leg diameter
and thickness which will depend on how much deflection is acceptable at the top
of the tower.
It is acknowledged that further and more detailed consideration and consultation
will be required regarding the windmill’s fabrication, structural engineering require-
ments, turbine and rotor specification, environmental impact and all other technical
considerations.These and other issues would be addressed by a necessary feasibility
study following the commissioning of the concept in principle.
Technical considerations
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A graphic designer whose practise has an international client base and whose port-
folio includes a major art atlas and reports for the United Nations Environment
Programme and the United Nations Framework Convention on Climate Change.
He is the founder of Bounford.com, a specialist editorial design facility producing
illustrations, charts, diagrams and design services combined with editorial and pro-
duction work. Regular clients include publishers, the heritage industry, corporations
and NGOs.The firm has completed contracted work for clients in the UK, France,
the Netherlands, Switzerland, Germany, Italy, the US, Nigeria and Kenya.
Established in 1984, the firm has long experience of working with a number of
international organizations including UNEP, UNEP DTIE, CMS, UNFCCC and WMO.
Recent work includes the design and production of a Handbook of UNFCCC; the
design and layout of UNEP’s African Environment Report 2, a 570 page book in
both English and French editions and the design and production of UNEP’s flagship
publication: Global Environment Outlook 4, a 572 page report on the current state
of the envisonment of the planet.Trevor Bounford is the author of Recyclopedia, a
48-page guide on recycling for small businesses and householders.
top left: Book celebrating the first ten years of the United Nations Framework Convention on Climate Change, 96 pages
top right: Report of the United Nations Environment Programme on the state of the global environment, 572 pages
bottom: Guide book to recycling for small businesses and householders, 48 pages
Trevor Bounford
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It could be said that the rock at the heart of sculptor Laurence Broderick has the
word ‘Skye’ running through it because carving otters gave him the name ‘Otter
Man of Skye’. Inspiration of the islands and the carving of otters and holding exhibi-
tions there over the past 26 years put Laurence Broderick on the map in a big way.
Now his sculptures over 2000 of them to date – are in collections worldwide.
Commissions include nine stone carvings (several of which weigh over a tonne) for
Royal Caribbean Cruise liners; the largest bronze leaping salmon in the world which
is 12.5 metres long and stands in Chester Business Park; a twice life size bronze bull
weighing six tonnes for the Bull Ring centre in Birmingham, UK; four twice life size
bronze otters for the headquarters of Powergen plc in Coventry, UK; Bells of Perth,
UK and the Bright Water Centre on Skye both have otter sculptures.
Following six years of art training, Laurence Broderick spent 16 years as Director of
Art at the Haberdashers Askes School in Elstree, UK and has spent almost 30 years
as a full-time sculptor. He enjoyed the task of designing the giant windmill. He
believes it’s powerful form, employing shapes that will inspire many for decades to
come, will serve as a flagship for the windmills of Britain.
Laurence Broderick ARBS FRSA
top left: Goddess Athena and the Owl, 1996. Mocha limestone/guilding. Royal Caribbean Cruise Line
top right: Camascroise Otter II. Bronze. Camuscroise Bay, Skye
bottom: Bull. Bronze. Bullring Centre, Birmingham, UK
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Peter Johnson is a director of the Ackermann and Johnson gallery in Belgravia,
London.The gallery specialises in eighteenth and nineteenth century British paintings
– notably the Norwich School – and in English landscapes, sporting paintings, marine
paintings and portraiture. It also exhibits bronzes and works by a few distinguished
contemporary artists.
Ackerman and Johnson is the combination of two Fine Art galleries. Arthur
Ackermann was founded in 1783 and became famous throughout the world for its
sporting subjects, oil paintings, prints and drawings. Oscar and Peter Johnson opened
their gallery in 1962, specialising in landscapes, portraits, marine and topographical
subjects. In 1992, the companies decided to combine their knowledge and expertise
and merged to form Arthur Ackermann and Peter Johnson Ltd.
The gallery has sold works to major public collections, including the Tate Gallery and
the National Portrait Gallery, and to international private collections.
Peter Johnson was responsible for the fundraising and commissioning of a large
bronze sculpture of a seated Sir Winston and Lady Churchill.The sculpture is now
sited in the gardens of Chartwell House, former home of the Churchills and now
a National Trust property, in Kent.
Peter Johnson
top: Greyhound ‘Fairy’, 1862. William Huggins (1820–1884), oil on board, 20 x 24 inches. Property of Rev’d J Fox, St Bees.
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As a professional model maker, cabinet maker and a wrought-iron blacksmith, Mark
has made ship models, decorative wrought iron gates, full-size horse drawn carriages
and various items of furniture. Mark has also been a consultant to Cambridge
University Chemistry Department and to the National Physical Laboratory for
whom he worked on the development of lightweight, balloon launched instruments
used to measure ozone loss in the stratosphere.This project included designing and
building a payload bay to carry these instruments in the GROB STRATO during a
campaign in Australia. Mark has also undertaken work for Cambridge University’s
Department of Engineering, producing technical illustrations and building wing sec-
tions for low speed wind tunnel testing under Professor Mike Gastor.
Mark was co-designer and builder of the British distance record-holding man-pow-
ered aircraft, Airglow, which made several appearances on national TV several times,
most notably on Channel Four’s “Building the Impossible”.The lightweight craft was
also displayed at the Science Museum in Kensington, London,The Imperial War
Museum, Duxford, at Old Warden and the NEC in Birmingham. He is also designer
and builder of the worlds lightest carbon fibre bicycle. A keen sailor, Mark has also
designed and built two 12’ sailing dinghies. As an artist, Mark creates ceramics and
sculpture, and is currently building a prototype for a glass chair.
Mark McIntyre
top: Prototype of glass chair, 2007
bottom left: Launch of Grob Strato carrying ligthweight instruments to measure stratospheric ozone levels
bottom right: Airglow, man-powered aircraft
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As a painter, printmaker and field naturalist Bruce has combined all three in a
30-year career as an artist working on a range of subjects and themes in the Arctic,
Antarctica,West Africa, the Caribbean, and North and South America.
It is the rhythm and restlessness of the natural world that fascinates, both in wild
landscapes and places where people and human activity interact with habitats and
species to create interesting themes. Some of his projects have been developed as
television programmes and broadcast by the BBC and Channel 4.
Bruce Pearson’s paintings and prints have been widely exhibited in the UK and over-
seas. He has undertaken significant large-scale commissioned works for museums,
corporate bodies and private individuals and has been a visiting lecture at The Royal
College of Art. Amongst awards won for his work, most recently was the GMAC
Commercial Mortgage Europe Art Award (2005). From 1994 to 2004 he was presi-
dent of the Society of Wildlife Artists, and has recently been invited to join the
board of the Artists for Nature Foundation.
Bruce Pearson
top: Bait digger and brents. Woodcut 60cm x 42cm
right: Wanderer. Monotype 42cm x 12cm
