An original London pirate: 1924 LB5 Chocolate Express

Before the age of Oyster cards and contactless payments, Over 250 pirate buses ruled the streets of London, bringing chaos to the roads as each operator tried to sabotage on another.

The 1924 Chocolate Express, now on display at London Transport Museum represents this epic era in London’s Transport story when an explosion of independent pirate operators challenged the monopoly of the London General Omnibus company in the roaring twenties.

With its distinctive livery and old-fashioned adverts the Chocolate Express demonstrates that London buses have not always been red or green.  The bus earnt the reputation of running a reliable service and spotless appearance inside and out.

The Chocolate Express Omnibus company was compulsorily purchased with the formation of the London Passenger Transport Board, the organisation responsible for public transport in London, England, United Kingdom, and its environs from 1933 to 1948. By 1934 Pirate buses were legislated off the roads of London bringing an end to a colourful era.

In 1984, the Chocolate Express bus was discovered, derelict on a farm near Norwich by the highly regarded Leyland bus restorer Mike Sutcliffe MBE. Mike spent three painstaking years researching and rebuilding the bus to its former glory and went on to win several awards.

The Chocolate Express bus will be the only pirate bus in the London Transport Museum collection to represent this period of time. You can help us safeguard the future of this beautifully restored bus by supporting out campaign. Visit The Leyland buses appeal to find out more.

If you’d like to discover more about the 1924 LB5 Chocolate Express, Mike Sutcliffe MBE will be giving a talk and tour on its intriguing journey from being discovered derelict in 1984 to full restoration. Find out more about the event and book your ticket.

Here we see the shield’s six screw-operated rams and representation of two complete tunnel lining rings, which workmen would construct one at a time as the shield moves forward.

Traffic-scene                      Chocolate Express

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Bryan Avery – an appreciation by Sam Mullins, Director of London Transport Museum

Bryan Avery, late architect of the new museum

I am sad to report on the death of architect Bryan Avery, who led the design team for the extension and refurbishment of the Museum at Covent Garden which was launched in November 2007. We chose Bryan  because of his skillful use of awkward space under Waterloo Bridge, for the creation of the Museum of the Moving Image in 1988 (which closed in 1999), for the glazed exterior of the IMAX at Waterloo (1999) and the brilliant performance and support spaces at RADA (2000).

A primary consideration for London Transport Museum was a new glazed screen entrance to give the Museum a light and attractive face onto the bustling east piazza of Covent Garden.  Our brief also included a new basement space now known as the Cubic Theatre, a comfortable 120 seat space for lectures, corporate hire, music and film, with great acoustics and moquette fabric covered seating. The third major element was to introduce an independently supported mezzanine floor high in the west transept of the grade two listed Flower Market building of 1871, with access by stairs and lifts at both ends. The fourth element was the improvement of the historic building’s performance as a Museum space, controlling light levels and heat gain and loss from what is essentially a cast iron greenhouse. Over-cladding, louvring and the largest installation of solar panels on a listed building to supplement the reinstatement of natural ventilation was deftly incorporated into the Avery design, with specialist input from Max Fordham.

Bryan worked on our scheme from 2001 to enable a successful application to the Heritage Lottery Fund. We worked intensely together to incorporate our vision of the new Museum and its narrative of transport shaping London, past, present and future, into the wonderfully located Flower Market. The tight space within demanded that every square foot worked for that vision. Bryan’s questioning of visitor flow and accessibility led to an optimal final design that has served the Museum very well since 2007, with visitor numbers rising from 210,000 to 400,000, and facilities for evening events, school visits, retail and cafe, promoting support from Transport for London,  funders, stakeholders and visitors. Bryan’s work has proved crucial to the Museum’s success, working within a range of constraints to create colour, light and movement within a historic structure.

The Museum’s former Assistant Director, Systems and Infrastructure, Rob Lansdown reminded me of how “when you talked to Bryan about space or form he was driven to pull out one of his blank index cards and a classic black Pentel Sign fibre-tipped pen (beloved of architects since the 1960s) and sketch his understanding for explanation and later reference”. His sketches of buildings and ideas were wonderfully concise and I hope plans for their exhibition and publication come to fruition.

Bryan remained a close friend of the Museum and had been consulted on our new Cafe extension project shortly before his death. We understand there is to be a memorial event in October.

https://www.theguardian.com/artanddesign/2017/jul/06/bryan-avery-obituary

https://www.architectsjournal.co.uk/news/tributes-paid-to-thinking-mans-architect-bryan-avery-1944-2017/10021390.article

Khadija Saye 1992 – 2017

khadija_1Two weeks ago the Learning team at London Transport Museum were waking up to the news of the fire in Grenfell Tower, and the realisation that one of our team lived in the tower and was now missing.

Khadija Saye joined the team in August 2016 as a Young Freelancer, a year-long post that offers support, training and paid opportunities for young people. The scheme aims to enable them to gain the knowledge, skills, and experience required for roles in art and cultural sectors. This is part of a wider programme of work with young Londoner’s funded by Arts Council England.

In our reflective practice sessions, Khadija talked with us about her life-journey, the challenges she faced, her art and her desire to work with and help people. Khadija worked on many projects in our Learning and Public Programmes teams, including using her amazing photography skills, giving tours, delivering events for families, supporting our pre-employment courses and engaging and supporting young people to become part of our apprentice programme. Khadija wanted to continuously learn, grow and develop and the paid opportunity allowed her to support the photography she was so talented and passionate about.

Khadija was all about people: whether assisting frantic set-up for a workshop, or guiding a participant on a course, caring for the elderly, or talking to a colleague struggling with work, Khadija was never short of time to listen. On meeting Khadija for the first time, her kindness shone through.  Extremely humble to the point where her discussion about being chosen to display work at the Venice Biennale came across, at first, as a small admin project!

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Dhikshana, Khadija’s line manager

The last time I saw Khadija was just before she left for Venice, mapping her journey so far as part of a session reflecting as a Young Freelancer.  Charting worries, and things she needed to plan for, control and if possible contain; we ended knowing she would have many tales to tell us from Venice, how she took all these challenges head on and the great time she would have.

She would return and we would be in the final months of her time with us, seeing how far she came, having yet another string to her bow, and more people to add to her journey.  Khadija was returning to work alongside her peers to bring in our next set of Young Freelancers, sharing her journey and supporting and inspiring another group of young people. 

As I said goodbye to Khadija that day, I told her not to forget me when she reached the top and make sure I had VIP tickets to her exhibitions. She promised and with a naughty chuckle, she said she would make sure there was plenty of tea and cake for me.

Thank you, Khadija for being part of our team. We are so proud to have worked with you, we hope you learnt from us as much as we learnt from you.

Learning team
London Transport Museum

Prize for Illustration 2017: the winners!

This week, London Transport Museum hosted the ceremony for the Prize for Illustration 2017 awards. The competition was open worldwide, was run in partnership with the Association of Illustrators and the ceremony was attended by a number of the shortlisted artists. I was lucky enough to attend as well.

The artists were invited to respond to the theme of Sounds of the City and capture sounds heard in our UK cities in a single illustration – from loud and frenetic urban noise to the more quiet and relaxing sounds of nature.

100 of the illustrations, which were shortlisted from over 2,000 entries by an independent panel of judges, are now on display at London Transport Museum until 3 September 2017. Each of the illustrations is accompanied by a short description about the inspiration behind their work. I do hope you get to come and see them! Exhibition details.

The winning illustrations will also be displayed on London Underground poster sites during the summer and each winner will be getting a cash prize. The three winners:

• Bronze Prize was awarded to: Paul Garland, for Sound of the Underground
 Find out more about Sounds of the Underground here
• Silver Prize was awarded to: Julia Allum, for Surprise City Sounds  Find out more about Julia’s work.
• Gold Prize was awarded to: Chiara Ghigliazza, for Solo Find out more about the Gold Winner here.

The announcement on 24th May 2017 was relayed live on my Periscope & Twitter account – watch it again.

Paul Garland, Sound of the Underground
Paul Garland, Sound of the Underground
Julia Allum's Surprise City Sounds
Julia Allum’s Surprise City Sounds
Chiara Ghigliazza - Solo
Chiara Ghigliazza – Solo (Gold winner)

#EmptyUnderground

I take the tube at least twice a week somewhere in town. Predictably I spend rather longer on it than I should: I find myself trying to get a gap in the crowds; a pause in the orderly chaos.

That’s because I’m so often attempting to take a shot that is comparable with the archive shots of yesteryear: those that feature just the architecture and engineering, rather than shots of those who are using it.

Sometimes it can be really quite pleasant to stop to one side, avoid the rush – and for a fleeting moment – experience the #EmptyUnderground.

I’ll be looking out on Twitter for more #EmptyUnderground so do snap some, upload to Twitter with that hashtag and I’ll make a blog post of them in a couple of weeks’ time.

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Warren Street, January 2017
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Charing Cross, December 2016
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Southwark, July 2016
Through the 1980s King's Cross Thameslink foot tunnel (still open 0700 - 2000 weekdays) with its huge SMILE prints mid-way) but on this Saturday visit was eerily quiet
King’s Cross Thameslink, December 2016
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Southwark, July 2016
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Camden Town, December 2016

The hidden tunnels beneath King’s Cross station

Last week I was very lucky in getting a balloted ticket for the District Dave Forum Christmas Meetup – to go and see something really quite interesting, and very unusual. (District Dave’s Forum is a place for the most ardent London Underground enthusiast to enjoy – there are a lot of very knowledgeable people there who understand the past, current and future of the system much more than I there). I’ve lurked on those Forums for many years and occasionally ask a very stupid question.

One of the things that characterises TfL today is the incredible number of transport enthusiasts who work within the organisation. Thanks to them, the Forum social this year was an expertly-arranged tour of the “Hidden Tunnels of King’s Cross” by off-duty station staff. Our main organiser and guide was one of TfL’s greatest advocates, Jack Gordon. His enthusiasm for his day-to-day role assisting passengers around King’s Cross is superseded only by his love for the history of the network. TfL is lucky to have  people like him (and so many others) taking time and effort volunteering to show those of us of a nerdish disposition around something that they adore.

So it was that we took a remarkable two-hour trip in and out of dozens of rooms, corridors and tunnels. From the frankly sci-fi warren of concrete tunnels and rooms beneath the new King’s Cross Ticket Hall (some of these voids are four storeys high) to the faded original Northern Line pedestrian tunnels, still showing signs of damage from the dreadful fire of 1987. We even had a wander around the old King’s Cross Thameslink railway station, now just used as an access route from Pentonville Road to the Underground platforms on weekday.

What fascinates me about our “hidden” or “abandoned” tunnels isn’t so much that they were railways or foot tunnels at all, but that our city and our needs have grown so rapidly that they have outgrown these systems that were built for them. That our growth as humans mean we’re now too tall for some tunnel clearances; and that London sometimes grows or changes priorities so fast that the infrastructure that was built for it was sometimes already outdated before it was completed. It was an exhausting, but truly wonderful trip.

After our epic tour most of my fellow tourists retired to the pub with the rest of the Forum folk, but I headed off to Bekonscot Model Village in Beaconsfield to look at the winter-time evening illuminations and have a drive around the miniature railway. Because, of course, weekends are made for playing trains.

Note: TfL has given permission for photos in these locations to be published online here.

The "secret" now-disconnected never-used siding deep beneath King's Cross on the Metropolitan, Hammersmith & City and Circle lines. It was built to enable goods trains to take spoil out by rail, but was never used in this way.
The “secret” now-disconnected never-used siding deep beneath King’s Cross on the Metropolitan, Hammersmith & City and Circle lines. It was built to enable goods trains to take spoil out by rail, but was never used in this way.
Fire damaged tunnels dating from the awful King's Cross fire of November 1987. These are still retained for maintenance purposes; you can see how the heat melted the adhesive holding the tiles to the wall. Note also the wooden handrails and indeed wooden steps.
Fire damaged tunnels dating from the awful King’s Cross fire of November 1987. These are still retained for maintenance purposes; you can see how the heat melted the adhesive holding the tiles to the wall. Note also the wooden handrails and indeed wooden steps.
Another view if the fire-damaged tunnels dating from the awful King's Cross fire of November 1987.
Another view if the fire-damaged tunnels dating from the awful King’s Cross fire of November 1987.
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A pause to remember the 31 people who lost their lives in the King’s Cross fire of 18th November 1987. You’ll find this memorial and clock in the older ticket hall, just at the top of the escalators. Do go and see it for yourself.
One of the many vast concrete chambers that exist underneath and around the newest King's Cross Ticket Hall. This one is part of the ventilation system.
One of the many vast concrete chambers that exist underneath and around the newest King’s Cross Ticket Hall. This one is part of the ventilation system.
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St Pancras Clock Tower adjacent to King’s Cross London Underground Station – from “The Egg”!
The Egg is the name given to the metal-covered ventilation and access shaft out on King's Cross plaza. You know the things; the big grey and black buildings.
The Egg is the name given to the metal-covered ventilation and access shaft out on King’s Cross plaza. You know the things; the big grey and black buildings.
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Old posters peeled off the wall – pre-1987 – for something happening at Kentish Town!
Excitement was definitely building. These trips are as much about meeting old friends (and making new ones) as seeing old transport infrastructure.
Excitement was definitely building. These trips are as much about meeting old friends (and making new ones) as seeing old transport infrastructure. It has been suggested that Paul is old transport infrastructure too, of course.
London Underground under London Underground. On the Met Line platforms, the newer fascia can, in places, be opened up to show the older tiling on the earlier wall face, behind. Note the lettered tiles.
London Underground under London Underground. On the Met Line platforms, the newer fascia can, in places, be opened up to show the older tiling on the earlier wall face, behind. Note the lettered tiles.
More walking down old Northern line pedestrian tunnels. Note the graffiti made in the dust - untouched since Andy Keane did it in April 1979.
More walking down old Northern line pedestrian tunnels. Note the ‘graffiti’ made in the dust – untouched since Andy Keane did it in April 1979.
A quick stop to admire the tiles on the Victoria Line platforms. The tile motif here is by the remarkably prolific designer, Tom Eckersley - a cross of Kings.
A quick stop to admire the tiles on the Victoria Line platforms. The tile motif here is by the remarkably prolific designer, Tom Eckersley – a cross of Kings.

Incidentally, you can learn about all the Victoria line tile motifs on www.victorialinetiles.co.uk 

Then a quick walk through a long-abandoned public tunnel, now used solely for maintenance and storage, between Pentonville Road and the lower Underground platforms.
Then a quick walk through a long-abandoned public tunnel, now used solely for maintenance and storage, between Pentonville Road and the lower Underground platforms.
Through the 1980s King's Cross Thameslink foot tunnel (still open 0700 - 2000 weekdays) with its huge SMILE prints mid-way) but on this Saturday visit was eerily quiet
Through the 1980s King’s Cross Thameslink foot tunnel (still open 0700 – 2000 weekdays) with its huge SMILE prints mid-way) but on this Saturday visit was eerily quiet
Me (Tim Dunn) by Badry Mostafa's mosaic, at the old King's Cross Thameslink entrance, surely one of the finest depictions of British Rail and London Transport integration ever completed. Note the huge torch slung around me - we'd needed these in several darkened corridors!
Me (Tim Dunn) by Badry Mostafa’s mosaic, at the old King’s Cross Thameslink entrance, surely one of the finest depictions of British Rail and London Transport integration ever completed. Note the huge torch slung around me – we’d needed these in several darkened corridors!
Badry Mostafa's mosaic on opening day. (c) @ltmuseum
Badry Mostafa’s mosaic on opening day. (c) London Transport Museum Collection
And finally - a number of District Dave Forum members in the old booking windows at King's Cross Thameslink. A reminder that our roaming about old transport infrastructure, like the infrastructure itself, is really about the people.
And finally – a number of District Dave Forum members in the old booking windows at King’s Cross Thameslink. A reminder that our roaming about old transport infrastructure, like the infrastructure itself, is really about the people.

Battle Bus Project 2016: Young Volunteers

During 2016 the Battle Bus community learning programme has worked with three amazing teams of young volunteers to co-curate an exhibition called From Tottenham to the trenches. These young volunteers consisted of a research team, an exhibition team and an outreach team who all had different roles to play in bringing together the exhibition.

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The project began in February with a group of 10 young research volunteers who were students recruited from universities across London. They were tasked with uncovering First World War stories linked to the events of 1916, the B-type bus, and Tottenham. Working alongside Rebecca Hatchett from S.I.D.E Projects, they met with museum professionals and First World War experts, delved into archives and went on field trips to piece together all the information needed to create content for the exhibition. You can read more about what they got up to on their blog here.

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This research was then passed on to eight Year 9 students at Northumberland Park Community School, who took on the role of exhibition volunteers. During weekly sessions with Rebecca and the Battle Bus Apprentice, Lamare, they creatively explored the research. They looked at why young men may have signed up to fight, the Battle of the Somme and the role that London buses played on the Western Front. Working with filmmaker Mmoloki Chrystie they used shadow puppets, drama and photography to produce images and a short creative film for the exhibition. You can watch their film here.

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The students also went on a bespoke three-day Battlefield tour to Belgium and France. They visited sites that had links to Tottenham and the buses, and learnt more about the Battle of the Somme and the Western Front.  The students paid their respects at the grave of William George Ely, a young soldier from Walthamstow whose story features in the exhibition. A film was made for the exhibition which documents their experience. You can watch it here.

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Then over the summer five young outreach volunteers worked alongside a spoken word artist, Mr Gee, to create original poems, responding to stories in the exhibition that they felt emotionally or personally attached to. Their work covered the ideas of home, memory, courage and conflict. As well as the poems featuring in the exhibition, they were also performed by the volunteers at exhibition launch events at London Transport Museum and Bruce Castle Museum.

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All the hard work and enthusiasm of the three teams of young volunteers culminated in the creation of the exhibition, From Tottenham to the trenches. It tells the story of London buses and the lives of young men from Tottenham who were affected by the First World War. It also marks the centenary of the Battle of the Somme. We invite you to visit the exhibition, which is on display at Bruce Castle Museum in Tottenham until Sunday 26 March 2017.

Many thanks to the Heritage Lottery Fund and London Transport Museum Friends for funding the Battle Bus Project. Also many thanks to Tottenham Grammar School Foundation and the Friends for funding the Battlefield Tour.

Hidden London tours are back for 2017

You’ll be pleased to read that Hidden London tours are back (on sale Wednesday 23rd November) but they sell out fast! As a regular visitor to these, I recommend that to get the best chance of the ticket you want, sign up to the London Transport Museum Newsletter (by 23:59 on Monday 21 November 2016) to get advance booking.

The ticket prices just about cover the costs of running what is a complex operation in logistics, safety and customer experience. So that some of it is accessible to all, the closest thing I can do is to take a lot of photos and share them: so below are some from my recent trips to Clapham South Tunnels and to Euston Tunnels too. I’ll be popping to a few next season and sharing the experience on this blog.

Down Street station

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Tiled signage in long lost corridors
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Signs of its use as a WW2 control room
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Gloomy, echoing tunnels beneath the streets with a distant rumble of trains
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You’ll feel trains scream past you on your way to some parts of the site

Clapham South Shelters

This one is less grubby  but no less interesting… miles of fascinating tunnels used for different purposes at different times. The expert guides will take you through the story of these tunnels and their future.

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Every wondered what this large tiled cylinder embedded in the front of this Clapham housing block is? You’ll find out: it’s part of the tour.
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Expert guides are on hand throughout (and they really are delightedly devoted experts)
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So much signage. So much to research later!

Euston

And finally for now, a single snap of the Euston Tunnels. A specific photo tour is being organised for those who’d like to linger longer.

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These British Rail posters (and a British Railways poster of the late, lamented, Midland Pullman) date from 1965: given that the BR logo had just come into service that year and the station tunnels here closed soon after, they could only have been seen for a few short months. Just along the wall are posters for contemporary films like Psycho. Apt, down there…

Don’t forget to sign up for the Newsletter!

Frank Pick: BEAUTY < IMMORTALITY

Frank Pick died 75 years ago this week. You’ll know his work; you’ll know his style. Your life is probably better because of him.

Arriving at the Undergound Group from a stint at the North Eastrn Railway at York in 1906, he was made Commercial Manager in 1912. First came pressing matters of fare structures, network consistency and development of some of the earliest travel posters; and by 1915 Pick had commissioned Edward Johnston to create a new, easily legible typeface. Upon that design’s completion he commissioned Johnston again: this time it was to redesign the early “bullseye” station nameboard device – and it became something more akin to the “roundel” we know today.

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Pick and a few of the works he can claim a hand in

It could be said that by 1916 Pick had already become a patron of public works, commissioning a visual identity that is known and trusted worldwide today still. Pick’s philosophy on design was that “the test of the goodness of a thing is its fitness for use. If it fails on this first test, no amount of ornamentation or finish will make it any better; it will only make it more expensive, more foolish.”

Charles Holden was his next great appointment. The contract for seven new stations on the Piccadilly Line extension to Morden was Holden’s proving ground from 1925: Piccadilly Circus, also a Holden creation, opened in 1928. A showpiece for the Underground, it was lavishly decorated and many early features survive today including wood panelling, integrated lighting and the famous World Clock.

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The World Time Today clock in Piccadilly Circus station. Photo: Tim Dunn

As of the 75th anniversary of Pick’s death, 7th November 2016, Piccadilly Circus, that hub of London’s buzzing underground network, is now also home to the permanent Frank Pick memorial. The memorial has been installed on the outer wall of the booking hall, where telephone kiosks once stood.

Another 30 Holden-designed stations followed the development of Piccadilly Circus (in my next blog, we’ll be revisiting some of Pick and Holden’s work). Posters were commissioned from Man Ray, Paul Nash and others; Marion Dorn was briefed to create stunning seat fabrics which still stand the test of time.

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Southgate station: designed by Holden, commissioned by Pick. It opened in 1933. Photo: London Transport Museum collection.
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Marion Dorn’s “Colindale” seat fabric moquette

Pick was a customer champion. He believed that London and London’s transport should be better, and that it could be better. Having commissioned, briefed and ensured so much that went towards achieving that aim, he later became chairman of the Council for Art and Industry (forerunner of the Design Council) in 1934, and an honorary associate of the Royal Institute of British Architects.

You can read more about his life and selected achievements on the main London Transport Museum website. But if you, like me, occasionally stop on your travels around London’s Underground and  wonder at the great works of a true visionary, perhaps you might like to contribute towards the Frank Pick memorial too.

You can donate here.

Archive Architecture: Enfield West (now Oakwood)

I’ve dug out a few photos from the London Transport Museum archives so we can have a tour of Enfield West (now Oakwood) Underground station on the Southgate extension of the Piccadilly line, in 1933 – at the time of opening.

We have taken the train today, and we start our architectural tour on the platforms just as our train departs. The station was designed by Charles Holden and C H James in 1933, and our train is quite new too. Concrete shelters for the platforms are supported by concrete pillars, and wooden bench seating has been incorporated into the pillars supporting the shelter.

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Screens shelter the ends of the benches and a poster has been incorporated on the side of the nearest one. The lighting and a clock are attached to the ceiling of the shelters. Photographed by Topical Press, Apr 1933

Looking further down the platforms, now we see:

View of the end of the platform showing a combined station name roundel, lamppost and poster panels, a signal (no K. 10) and the track and surrounding countryside. Photographed by Topical Press, Jul 1934

Those integrated lamp-posts and poster display boards were quite extraordinary, and similar ones were found throughout the Southgate extension. There were a couple of variants.

View along the platform from the edge of the Northbound side beyond the concrete canopy, with a stationary train at the Southbound side. The station building is in the background, whilst one of the combined lamppost, station name roundel sign and poster sites panel is in the foreground. The platform is clean and empty, with one waiting passenger visible in the background. Photographed by Topical Press, 10 Apr 1933.

The platform panels aren’t the only minutiae of note, though.

Platform seat, Southgate Urban District Council (UDC) coat-of-arms, and partially obscured station name roundel at Enfield West (Oakwood) (now Oakwood) station, Piccadilly line. In the background is a poster advertising Oxo. The Southgate UDC coat -of-arms bears the motto “Ex Glande Quercus”. Photographed by Topical Press, Aug 1934

Upstairs, the booking hall is glorious in both day…

View of the booking hall. View shows the interior of the high box type structure designed by Charles Holden and C H James. Brick building with concrete roof. Full height steel windows are prominent; note roundel incorporated into window on right. A passimeter stands in the middle of the concourse; two automatic ticket machines can be seen in rear view next to the passimeter. A tobacconist’s is situated on the right of the shot. Photographed by Topical Press, 23 Mar 1933

But particularly at night…

Night shot of booking hall showing clearly box-like structure, with brick walls, full height windows, and concrete coffered ceiling. A passenger is purchasing a ticket from the clerk in an illuminated passimeter. Photographed by Topical Press, 28 Apr 1933

Moving out towards the street, we look back:

A tobacconist’s shop is situated beside entrance, foreground left. A passimeter and two automatic ticket machines can be seen on the concourse. Photographed by Topical Press, 23 Mar 1933
Enfield West station on the Piccadilly Line. (now known as Oakwood). Shelter, mast sign and light fittings. Photographed by Topical Press, May 1933

That light tower was quite something: Holden did like light fittings integrated with other things.

Closeup of Enfield West station on the Piccadilly Line. (now known as Oakwood) shelter and mast sign. Photographed by Topical Press, May 1933

And bringing us right up to date, you’ll be pleased to know that not only is Oakwood station still very well preserved, but that mast sign with light tower is too.

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Refurbished seat and station sign with lamps. The original sign had the actual name of the station, but was replaced a few years ago with this standard Underground sign. The edge of the Oakwood Station building can be seen on the right. Pic by Christine Matthews on Wikipedia, reproduced under Creative Commons best practice.

Further reading and image link for Wikipedia.

Thanks for coming on this archive tour: I’ll dig out another one soon!

Tim Dunn