New Zealand Memorial in London – design concept and artists

Selection

Selection of the design started with the Ministry for Culture and Heritage receiving expressions of interest from 68 design teams.

A short list of 12 was invited to submit actual designs, resulting in the award of the commission to a partnership of Dibble Art Co and Athfield Architects Ltd. The team is led by sculptor Paul Dibble and architect John Hardwick-Smith.

Design concept

Called 'Southern Stand', the memorial consists of 16 bronze sculptures of varying heights set out in formation across a grassy slope in Hyde Park Corner. The design team explains that the memorial "marks a field for the commemoration and celebration of New Zealand and Britain's war-time and peace-time relationship".

Positioning of sculptures

Paul Dibble's wife and assistant Fran Dibble explains that the individual 'standards' are "made to stand in semi-grid formation calling to mind soldiers in procession, … Pouwhenua markers around Māori ancestral sites, or Celtic remains" like standing stones. The forward-leaning angle of the standards gives them a defiant pose "reminiscent of warriors during haka, the defensive bat in cricket, and the barrel of a shouldered gun". Thus the military, Aotearoa/New Zealand, and British links of the memorial are immediately established in the placing and attitude of the sculptures.

Crosses in workshop
 

Some of the sculptures in the Dibble workshop showing the effect of the angled standards in formation. (Note: Not the final formation.)

Photo by Becky Masters

 
 
 

There are in fact two overlapping formations. Ten of the bronzes form an angled grid (diamond shaped) with a 'leader' standing in front of the lower point. This leader standard contains the dedication text and is the site for the laying of official wreaths.

Plan showing location of memorial standards
 

Plan of the site showing the placing of the standards. Number 1 is the 'leader' standard, and number 2, which marks the lower point of the grid formation, is the 'flagbearer'.

 
 
 

The other six standards are positioned beyond the main group and are arranged to form the shape of the Southern Cross constellation. At night, their tops are illuminated so that the crosses appear like the southern stars, indicating the compass direction south … and pointing the way home for wandering Kiwis.

Memorial at night showing Southern Cross
 
Play video (1.2mbs, Windows Media)

The memorial at night – showing Southern Cross pattern formed by lights on top of six standards 11 to 16.

 
 
 

Each standard is formed from two intersecting plates of bronze, which are cut at a diagonal plane at the top. 'From afar, they appear like a series of crosses hanging in the air, with some of the atmosphere of the soldiers' mass cemeteries,' says Fran Dibble.

Standards in workshop
 

A cross 'hanging in the air' in the Dibble workshop.

Photo by Graeme Brown

 
 
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Detailing

Close up, the surface of the standards is textured with patterns, words, raised images, cut-out shapes, and three-dimensional models in bronze. These details evoke the themes of the memorial – New Zealand national identity, the long relationship with Britain, and our shared wars.

A taster of some of the detailing follows.

NZ and fern on side of standard
 

The iconic New Zealand fern (copied from a soldiers' badge).

Photo by Becky Masters

 
 
 
Māori carving
 

A manaia figure (taken from traditional Māori carving).

Photo by Becky Masters

 
 
 
Poppies and poem
 

RNZRSA poppies surround a quote from First World War soldier Barney Lucas describing poppies near the front in Palestine.

Photo by Becky Masters

 
 
 
Farmer on a fence (bronze relief)
 

An iconic Kiwi farmer. This elongated figure is characteristic of Paul Dibble's figure style.

Photo by Becky Masters

 
 

The design team explain that, while the structure of Southern Stand organises a strong and respectful space for formal or sombre occasions, the patina of the bronze surface and detailing invites personal engagement by visitors – to read, touch, and contemplate. Crowds may congregate within the formation, shoulder to shoulder with the standards, as they overlook a procession, a commemorative service (such as Anzac Day), or a concert in the park.

People lounging around the memorial
 

Architects' impression of how crowds may interact with the memorial during events in the Park.

 
 
 
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Artists' profiles

Dibble Art Company, Paul Dibble

Leading New Zealand sculptor Paul Dibble has specialised in bronze-casting since the early 1990s. Works from that period explored folklore icons of New Zealand – images of sheep, beer bottles, trophies, farmers and farm dogs. Many recall Dibble's rural upbringing. Other works study the country as an untouched paradise or investigate topical issues, like the cost of conservation and trading in live sheep to Iran. His focus on Kiwi icons and the role of New Zealand in the world made Dibble an ideal choice to represent Kiwi identity on an overseas memorial.

The Dibble Art Co studio employs a team of people with the diverse skills required to make bronze sculptures. The team includes Fran Dibble (Paul Dibble's wife) who has expertise in welding and ceramic shelling, and foreman Sonny Hawkins who is responsible for bronze construction and sand moulding. Local woodworker Martin Carryer helped develop the wooden patterns for the memorial standards. Research to find appropriate text was carried out by Therese Crocker.

Athfield Architects Ltd, John Hardwick-Smith

Leading the architectural side of the team is John Hardwick-Smith, an architect and a Director of Athfield Architects Ltd. John has 12 years experience in the design and implementation of a broad range of urban scale architectural projects, many of which involved collaborations with artists and sculptors. A recent project was Wellington's new Waitangi Park and the adjacent Taranaki Wharf redevelopment.

Others in the design team from Athfield Architects Ltd include architect Zac Athfield, and architectural designers Jaime Lawrence and Chris Winwood.

Jon Rennie, representative in London

Architect Jon Rennie studied at Victoria University, where he focused on the possibilities of theatre in public spaces. From 1999 to 2001, Jon worked in Athfield Architects' Wellington office on a range urban design work. In 2001 he moved to London. Jon retains an association with Athfield Architects Ltd, collaborating on projects both in London and New Zealand.

Team support

  • The Heavy Metal Company Limited – metal casting assistance
  • Clendon Burns & Park Ltd – structural engineers
  • Promanco Kenman – project managers

 

 

 
 
The standards