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Hammersmith and City line

A big hand, pleaseStepney Green station opened in 1902, and while the booking hall still boasts many of its original fixtures and fittings, for me the best spot in the whole building is – as with so many locations in life – halfway down the stairs.

Here you’ll find, stencilled on to the wall, a fading but impressively legible instruction to anyone confused as to where they should progress having purchased their ticket, and to those also curious as to where this angled sequence of steps may conclude.

The vintage of the stencil isn’t obvious, but the lettering suggests something richly antiquated and the whole design is saturated with nostalgic charm:

All in the wristLondon’s Underground: it isn’t really anywhere, it’s somewhere else instead.

Give my regards to (55) BroadwayIt was only a matter of time before 55 Broadway, administrative headquarters of London’s Underground since the 1930s, cleared its throat on this blog.

But I hadn’t expected it to do so as a wall tile on a platform at Aldgate East. And a pretty impressive one at that, nicely capturing the building’s mix of enduring majesty and shameless self-importance.

The tile is one of a number of designs embedded sporadically, almost whimsically, along the side of both platform walls. They lure your gaze away from the all the familiar apparatus of an Underground station and occupy you with something new, something unexpected, something… a little baffling:

Hats off to WestminsterOK, so that’s the Houses of Parliament, and that’s a crown, and that’s another crown, and that’s… a bowler hat?

And while this looks like a coat of arms, perhaps belonging to one of the counties through which the Underground passes…

A call to arms …heaven only knows what this is:

Erm...It’s a bit like the sort of half-arsed monster that frequented Peter Davison-era Doctor Who episodes, but sporting a face that looks like a character from Once Upon A Time… Man.

I think we’re on safer ground with this one:

Yes, againThe S stands for Stabler – Harold Stabler, the designer who worked on the remodelling of Aldgate East station in the 1930s, and who helped established and popularise the influential ceramics company Poole Pottery.

Stabler’s tiles are charming little bulletins of whimsy from a time when art could be both stylish and fun. They elevate a rather humdrum station into something teasingly special. They’re also the smallest things – so far – to merit an entry on this blog all to themselves.

Still mortar offerThis was suggested by Mark Siddall (yes, I am open to any and all nominations).

My photos don’t quite represent the full breadth of eerie elegance created when the sun is in a certain part of the sky and you are standing in a certain part of the station. But it’s the alcoves that best capture and amplify the effect of having so much of the area both cut into the ground and open to the sky.

The shadows and illuminations can give the impression of descending into a baroque catacomb – or, if it’s an especially warm day, an enormous kiln.

Catacomb with a viewThe sensations are heightened – literally – by the tall buildings rising up on all sides. It’s quite an atypical design for a station on almost the oldest stretch of line on the entire Underground. In fact I can’t think of another station on the Circle line that is quite so exposed to the sky, at least not in quite as dramatic a fashion.

This impression of cavernous space is compounded still further by the now disused platforms that sit alongside the Underground tracks:

Dead endThameslink trains to Moorgate used to come this way. Now, nothing. The platform wall is still dutifully updated with the latest advertisements, should your gaze drift momentarily across the tracks. Some of the roundels could do with a bit of attention, though:

Dirty rotten roundelI know some people think the “true” Underground is never open to the elements. I disagree. Barbican exposes the heart of the Underground in the heart of the London in heart-tugging style.

(Oh, and thanks Mark!)