304 vs 316 Stainless Steel for Outdoor Sculpture
The grade decision costs little at the quotation stage and a great deal once a piece starts pitting. Here is how to make it properly.

Material selection, finishing processes, foundations, water features, maintenance and shipping. Written from what goes wrong on real projects.

The grade decision costs little at the quotation stage and a great deal once a piece starts pitting. Here is how to make it properly.

A flawless mirror finish is decided during welding and grinding, long before anyone reaches for a polishing mop.

What weathering steel does over its first years outdoors, what it does to the paving underneath, and what to detail at design stage.

The single most common regret is a piece that is too small. Here is how to get the scale right before anything is fabricated.

The base plate and the anchor pattern cause more delays on site than anything else. They are also the easiest part to get right in advance.

Two completely different routes to a large sculpture, each with a form language it suits and one it fights.

Every stage of a commission, what can still change at each point, and what is locked once it passes.

Water turns a sculpture into a system. Decide the effect, the grade and the plant room before the form is finalised.

Very little is needed, but the wrong product used once can undo a finish that took days to achieve.

More sculpture is damaged between the workshop and the site than in twenty years of service. Most of it is avoidable.

Why the gold on these panels is a vacuum deposited coating rather than paint, and what that means in a working interior.

Lobby pieces have constraints that garden pieces do not: fixed ceilings, live operations and a delivery route through a finished building.
Our own design and production team, from what actually causes problems on projects. They are written for specifiers who have to make the decision and then live with it.
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