New Zealand Memorial in London – construction
Making the templates
Creating the decorative elements on the wooden templates was done in many different ways, as Fran Dibble explains:
Patterning on the wooden templates was achieved by a variety of means. Patterns were cut out and stapled on, and shapes were cut from the side of some templates. High, more rounded shapes were built up in wax, or cut out of lino or wood, then glued on. Some areas were modelled in clay, then plaster moulds were taken of the clay shapes, and the wax shapes produced [from the moulds] were fixed onto the patterns. Wording was made by hand-cut letters, by carving, or by making polymer positives using computer technology from typed files.
Paul Dibble moulds wax to create a raised image on one of the wooden templates.
Photo by Graeme Brown
Paul and Fran Dibble work out the positioning of text around an image on a template.
Photo by Graeme Brown
Cutting a koru shape out of lino to apply to a template.
Photo by Graeme Brown
Foreman Sonny Hawkins marking position of decorative details on a template.
Photo by Graeme Brown
Constructing the bronzes
Weighing in at some 700 kg each, the sheer size and massive weight of the bronzes presented technical challenges to the Dibble workshop, as Fran Dibble recalls:
Casting of the long shafts, some 4.5 metres long, presented a host of technical difficulties. If the standards were constructed in separate sheets and welded together, there were worries that the welding would produce warps and bows. If too thick, it could cause 'draws' when the metal shrinks when cooling, producing cracks. But to pour in a single pour was beyond the capacities of the studio's largest crucible (since our tilt furnace could only manage a mere 240 kg).
Thus the decision was made to sub-contract out pouring of the shafts to the Heavy Metal Company in Lower Hutt. They made moulds from our wooden patterns. Using large tilt furnaces, sometimes coordinating two at a time, they poured the bronze. Then they shipped them back to us to work on and fit the remaining pieces.
Pouring molten bronze into a mould for one of the small 3-D shapes attached to some standards.
Photo by Graeme Brown
Fran Dibble works on the surface finish of one of the Southern Cross standards.
Photo by Graeme Brown
Using the forklift cage to enamel the cross top of one of the 4.5m standards.
Photo by Graeme Brown
(To read all of Fran Dibble's story of the creation of Southern Stand, see the 'News' section on the Te Manawa Gallery website.)
To create the bronze sculptures, full-scale wooden models were made first and some of the decoration applied. Moulds were then made from the templates, and molten bronze poured into the moulds. When the moulds were removed, the new sculptures required surface finishing, application of welded patterns and text, and attachment of the 3-D bronze figures.
Journey to London
Packed carefully into a shipping container, the weighty sculptures left the Palmerston North studio of Dibble Art Co on Queen's Birthday. Fittingly, their long journey by ship follows the march to the Second World War of the Māori Battalion in 1940. Responding to Britain's call for aid, the men of the battalion were trained in the Palmerston North showgrounds before embarking for London. Once there, they camped in Hyde Park with other Kiwi troops before advancing to battlefields.
'It seemed an incredible coincidence that this memorial is following the same steps as those soldiers 66 years ago, 'recalls Fran Dibble. It was too good a chance for the artists to miss. So one standard includes the Dibble's own small tribute to Palmerston North in text from a contemporary report of the Battalion's departure:
Dressed in their greatcoats and lemon-squeezer hats, with officers carrying side-arms and the remainder of the battalion carrying rifles, they looked impressive as they marched for the last time before the citizens of Palmerston North.
Site preparation and installation
In London, Athfield Architects oversaw the preparation of the site and installation of the sculptures.
The preparation involved digging out and forming concrete foundations for each of the 16 standards, and installing the British slate surrounds. In addition, the lighting wiring and sensors for the illuminated (Southern Cross) standards were installed within the foundations, and lighting of the standards themselves installed.
During installation, the bronzes were lifted into position by crane and bolted to the foundations. When all were in position and all the lighting was connected, the path and turf around the sculptures was established.
