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Westbourne, ho!This is possibly the most inelegant object I’ve featured on the blog so far. Steady those trembling nerves – it’s a giant metal tube!

Inside, however, is one of a famously elusive and vaguely bewitching brood: London’s lost rivers.

Sloane Square station was opened, rather sweetly, on Christmas Eve 1868. Inaugural passengers, perhaps in search of a last-minute festive goose or clementine, would have had good cause to wonder as to the identity of the iron vessel hung in a decidedly non-festive fashion above their heads.

But this was no unexceptional strut or inert girder. Contained within was what remained of the River Westbourne, whose contents were en route from Hampstead Heath to the Thames.

The 'Bourne identityKnowledge of this particular waterway no doubt was and still is kept to a minimum. How much of the river still runs through the pipe is possibly of an equally small magnitude. But there it goes, trickling – or maybe pouring – over the heads of travellers, a minor but rather fascinating engineering marvel.

You can get a better idea of the route of the river (if not a clearer view of the pipe) by peering through some of the railings between the buildings that surround the station:

These pictures just keep getting betterI believe you used to be able to get a much clearer view from up here, before residents tired of a) the sight of trains b) the sight of people struggling to catch sight of trains c) the sight of anything except their own valuable homes. This is sad, because there are far more objectionable things in the Sloane Square neighbourhood than a grey conduit.

Such was the ingenuity of the Victorians, however, that a channel of water passing directly through the location of a proposed station became not a dilemma but an opportunity. And such was their fortitude that the opportunity survives to this day, inviting odd glances, sporadic frowns and the occasional knowing smile towards the taming of this ‘Bourne supremacy.

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.

Smile!The Jubilee line extension from Westminster to Stratford is nothing if not a lesson in how to introduce light into dark places. Glittering, shimmering, colourful light. And there’s an entire wall of it at Southwark, tinted in the most alluring, soothing shade of blue.

BluetonicIt is a dazzling 40 metres long and made up of 496 panels of varying sizes, bolted together to form an enormous azure-hued tapestry that reflects all the energy of the station concourse.

The fact that the wall is purely decorative and serves no structural purpose whatsoever just makes it all the most precious. It’s a great example of the way the newer Jubilee line stations were conceived as opportunities to be exploited, not obstacles to be accommodated. Plus it’s gorgeous to look at, both as a slice of art and a turquoise-tinged mirror on all the bustle of the Underground.

I’ve always enjoyed bluetones.

BluetonesWhat a thrillingly chunky dose of architecture. The wall is held in place with these massive concrete struts, which themselves become attractive – for me, anyway – thanks to the way they are shadowed by daylight pouring in from the roof.

Southwark station unfurls narrowly downwards, a necessary manoeuvre due to surrounding buildings and – oh, the irony – old railway viaducts. Curse those Victorians with their feats of swaggering engineering!

But what it loses in horizontal sprawl it gains in dramatic, elegant elevation. The glass wall, the work of Alexander Beleschenko, celebrates what might otherwise had been treated as a constraint. And blue is the perfect colour for the station: cooling, introspective, becalming.

Who knew geometry could be so emotional?

Blue is *the* colour