Underline Art & Music for the Victoria line

Learning Guide Key Stages 1–5

To download visit art.tfl.gov.uk/underline-learning-guide

5 Foreword 30 Your Tiles (art & design, technology) 6 The Importance of Art & Design 30 Design from Nature (art & design) on the London Underground 31 Design for a Home (art & design) 6 Art on the Underground 32 Create your own ‘Nanking’ inspired 6 The Project: Underline plate design (art & design) 7 The Artists’ Commissions & Timescale 32 STEM Activities 8 The Core Values of William Morris 32 Design a Tunnel (design & technology, STEM) 9 The Arts and Crafts Movement 33 History, Geography & IT Activities 9 The Influence of William Morris on London 33 Maps Underground’s Frank Pick 33 Construction of the Victoria line 10 Design Research Unit & Sir Misha Black (history, geography) 10 Victoria line 33 Investigative Geography Project 11 The Official Royal Opening 34 A Cutting-Edge Ticketing System 11 Diagram of the Victoria line (geography, British Values) 11 Interesting Facts about the Victoria line 34 Passengers through the Ages (history) 13 Original Victoria line Design Features 35 Literacy, Photography & Music Activities by Design Research Unit 35 News from Me (literacy) 16 Ten Stations by David Lawrence 35 Through a Lens – Underground (photography) 19 Classroom Activities 36 Above ground (photography) 20 Arts Award and Underline 37 Family Activities 21 Delivering Arts Award through 37 Challenge 1: Match the Labyrinth Underline: Mapping Resource 37 Challenge 2: Which Victoria line station is this? 22 Underline Journeys: School Music Competition 24 The Commissions: Activities 39 Directory 24 Giles Round: Design Work Leisure 50 Visiting London Underground 24 Design with Limited Patterns 51 Useful Resources & Further Reading & Colour Palette (art & design) 53 Credits 24 Tube Seat Fabric Design (art & design) 54 Competition Terms & Conditions 25 Is it possible to improve the machine? (dance) 57 Activity Resources 26 Matt Rogers 58 Design Work Leisure (DWL) patterns 26 Literacy & Music Activities 59 DWL colour palette 27 Liam Gillick 60 DWL tile designs 27 Tales of the Tile (literacy) 61 Which Victoria line station is this? 27 Monologues (literacy, drama) 62 Match the Labyrinth 29 Assemble 66 Labyrinth Design Families 29 Zineb Sedira 67 Character Profile 30 Shipwreck (literacy, poetry) 68 Investigative Geography Project

Foreword

Underline is a series of art and music commissions by Art on the Underground for the Victoria line, which launched in summer 2015.

The Crossrail of its day, the Victoria line from Walthamstow to Victoria was opened in 1969, the first new Underground line to be built in 60 years. With commissions from three visual artists, an architectural collective and a composer, Underline will draw inspiration from the character of one of the most intensively travelled lines on the network, and the organisations, communities and histories connected by it.

Underline launched with Giles Round’s commission Design Work Leisure in July 2015. International artist Liam Gillick will screen a series of new films shot across the Underground network. Contemporary composer Matt Rogers’ new music commission will be performed by members of London Sinfonietta live in stations on the Line in spring 2016. In summer 2016, architectural collective Assemble will develop a new public site at Seven Sisters. Closing the Underline series, Brixton-based artist Zineb Sedira will present a new film work and photographic series currently in production.

This Underline Learning Guide, produced by Art on the Underground in collaboration with A New Direction, is devised for primary- and secondary-school teachers and for those working with young people towards an Arts Award. It serves as an introduction to the five Underline commissions and the design history of the Victoria line, whilst also signposting the wealth of local expertise, collections, cultural venues and green spaces accessible via the Line. It includes inspiring classroom-activity suggestions for different subjects, which can be used as a springboard for teachers to devise their own projects. It will also be of interest to anyone who wants to learn more about the Victoria line.

This Learning Guide also gives details of Underline Journeys: School Music Competition. The winning school will receive a special masterclass with contemporary composer, Matt Rogers, one of the commissioned artists.

To keep up to date on the latest information visit: art.tfl.gov.uk/underline

5 The Importance of Art & Design of an old coal yard next to the Regent’s Canal everyone. Underline chimes with this ethos, for London Underground behind King’s Cross St Pancras station. and Morris’ legacy and influence on Frank Pick, London Underground’s managing director in the Art and design has always been an essential Art on the Underground 1920s, who commissioned great art and design element in London Underground’s identity. Founded in 2000, Art on the Underground for the Tube. Underline encourages us to look The organisation has become renowned (originally named Platform for Art) is London’s at the original design and architectural vision throughout the world as a leader in the use largest art programme. It lets everyone experience of the Victoria line through five contemporary of high-quality art and design for its publicity art every day through unique collaborations art commissions. and throughout the Underground network. with world-class artists. It provides a programme of contemporary art that enriches the Tube Alongside the commissions, an ambitious, artist- When conceiving his design vision for the Victoria environment and the customer’s journey led programme of events, activities and projects line in the 1960s, London Underground’s design experience, as well as continuing London delivered in partnership with cultural organisations consultant Misha Black of Design Research Underground’s long-standing practice of located close to the Victoria line will offer a Unit was keen to consider every element of placing art and design at the core of its identity variety of opportunities for all ages to explore the Victoria line (e.g. platform details, including and service. Underline is the latest exciting the ideas and inspiration behind Underline. tiles, trains, litter bins, lighting etc.) in terms of project to be curated and commissioned by the materials used, what it looked like and how Art on the Underground. For further information on the organisations and it was made. Like designer William Morris and what they offer, see the Directory on page 39. London Underground’s managing director Frank The Project: Underline Pick before him, Black wanted to make things Underline is an 18-month programme of art and that had a practical purpose but were also music commissions for the Victoria line taking aesthetically pleasing. place from 2015 to 2016. An ambitious series of new artworks, film, installation and music Today, there is a renewed interest in William developed by five artists will be created in Morris’ ideas of rejecting machines and mass response to the unique character and history production and valuing traditional hand-craft of the Victoria line, from its 16 stations to the techniques, exploring how materials and behind-the-scenes areas, including the Train forms can be used to make beautiful things. Depot and Service Control. As these commissions Organisations such as Blackhorse Workshop gradually appear on and around Victoria line and the Institute of Making, close to the stations, they will offer extraordinary experiences Victoria line, are two such places where visitors whilst igniting curiosity and capturing the attention can learn about materials and making processes, of those travelling on the Victoria line. Underline and develop their own skills through hands-on will directly address the Tube’s vast number public events (AOTU url for events). There are of travellers as they pass through public space. also many wonderful green spaces to discover, such as the two acres of wild green space The project has been inspired by Walthamstow- at London Wildlife Trust’s Camley Street born artist and designer William Morris (1834– Natural Park, created in 1984 on the site 1896), who believed that great art should be for 6 The Artists’ Commissions of affecting change for both worker and ‘To apply art to useful wares is not a & Timescale passenger. Revisiting the values and vision frivolity, but a part of the serious of William Morris, Frank Pick and the Design business of life.’ William Morris Underline will see new projects by: Research Unit, DWL has the specific goal to Assemble – architectural collective produce objects that move beyond their function. As part of Underline, DWL is developing a series Liam Gillick – artist of artworks in a variety of handcrafted materials Matt Rogers – composer including vitreous enamel and ceramic tiles, Giles Round – artist which will be installed at some of the Victoria Zineb Sedira – artist line stations. The first artwork will be permanently installed at the front of Blackhorse Road Each artist is undertaking a period of research station. To launch the commission, DWL in order to get to know the Victoria line and created a limited-edition travel wallet and create new work in response to this unique, a design ‘directive’ leaflet available at Tube subterranean context: stations. Look out for Round’s other artworks, DESIGN WORK LEISURE which will be installed across the Line, or visit the website for current information.

From 2016 – Liam Gillick Gillick is creating a series of 20-second films that playfully superimpose an anagram of all 16 station names on a backdrop of architectural details. The films are intended as ‘film trailers’, giving the sense that there’s something more to come. They will be Art on the Underground’s first project to be presented on the platform cross-track projectors.

DWL travel wallet, 2015 Spring 2016 – Matt Rogers Composer Matt Rogers has spent time visiting From July 2015 – Giles Round the Victoria line and meeting Underground Artist Giles Round has established an imagined staff. He will collaborate with ensemble design studio called Design Work Leisure (DWL). London Sinfonietta to create contemporary Inspired by London Underground’s rich design classical music to be played live on the heritage, the work of the Design Research Unit and Underground in April 2016, exploring ideas William Morris, DWL is developing a series of of chance encounter and relocation, as functional artworks, such as bespoke applied well as site-specific music and what a score patterns and tile designs, for the Victoria line. is. He will write for both small groups of The artworks will be conceived with the intention DWL ‘design directive’, 2015 musicians and larger orchestral ensembles. 7 London Sinfonietta’s education department will The Core Values of William Morris hold of England. Believing that beauty was a be incorporating Underline and specifically the basic human need, he wanted to bring art into ideas and work of Matt Rogers into their Spring / The innovative use of art and design on the everyday life: Summer 2016 programme. This will include: London Underground began in 1908 and continues today. To fully understand the origins of this ‘You cannot educate, you cannot · A primary schools concert at St John’s tradition we need to explore William Morris’ civilize men, unless you can give them Smith Square in May 2016. radical belief that ‘Great art should be for a share in art.’ William Morris · Schools projects exploring creativity, everyone’, and investigate how his core values composition and the origins of ideas. were a key influence on London Transport’s Morris, himself a highly skilled craftsman in a · London Sinfonietta’s new secondary schools managing director Frank Pick and his vision variety of disciplines, fought for social equality teacher-training programme, launching in for the development of London Underground. and a return to craftsmanship: March 2016, will initially be open to teachers in the boroughs of Camden and Islington. ‘That thing which I understand by real art · Adult participation drop-in workshops focusing is the expression by man of his pleasure on composition and music-making, using in labour.’ William Morris the ambient sounds around us. The workshops will inspire adults with new ideas to take Although he was not opposed to machines away and share with others. as a matter of principle, he believed that since they were primarily used to increase production, Visit londonsinfonietta.org.uk for details. they increased the worker’s drudgery, since machine production is mindless and repetitive: Summer 2016 – Assemble Architectural collective Assemble, nominated ‘I believe machines can do everything for the Turner Prize 2015, will work directly with except make works of art.’ local community groups (London Underground William Morris staff, schools, residents etc.) to develop a new installation at the entrance of Seven Sisters station.

Summer 2016 – Zineb Sedira Elliot and Fry, portrait of William Morris, 1877 Artist Zineb Sedira, a Brixton resident, is developing a new film that draws upon the William Morris (1834–1896) connections between the Victoria line and An artist, designer, writer, environmentalist and the city’s natural networks. Much of her work socialist, Morris was born into an affluent family is filmed abroad and the Underline commission in Walthamstow, east London, in 1834. He will be her first piece based in London. was a key figure in the revival of many traditional methods of textile production in reaction to the mass-industrial manufacturing that was to take William Morris, Strawberry Thief, fabric design, 1883 8 Morris cared about people less fortunate than The Influence of William Morris on Underground’s corporate identity by himself, and held that the workers’ environment London Underground’s Frank Pick commissioning artists, illustrators and was crucial to their wellbeing. It grieved him that designers to produce work for the organisation. handmade goods were more expensive than those Frank Pick (1878–1941) He commissioned now familiar publicity posters made by machines and therefore available only from the likes of Paul Nash, Edward Bawden, to the rich and privileged. He wanted everyone Graham Sutherland and Edward McKnight Kauffer, to have access to great art and craft. iconic upholstery fabrics by Marion Dorn and Enid Marx, and architecture by Charles Holden The Arts and Crafts Movement for the extension of the Piccadilly line. Pick’s Through Morris’ work and political campaigning, awareness of urban design is still with us today he attempted to effect positive social change. and can be traced through to the architecture He and fellow artist John Ruskin were pioneers of of the Jubilee Line Extension, the Crossrail the Arts and Crafts Movement, which flourished in project and the New Routemaster bus. Britain from the 1880s to the start of World War I. Followers of the movement emphasised the importance of hand-craftsmanship, designing from nature (and the importance of access to nature and green spaces) and the sympathetic use of materials. They believed in social reform, education, environmental sustainability and self-sufficiency. Many of these ideas remain important and relevant today. In 1875, Morris Frank Pick founded decorative arts company Morris & Co with the aim of bringing his progressive arts and As managing director of the London Underground crafts values to the people. The company had in the 1920s and the first chief executive of a showroom on London’s Oxford Street. Many London Transport, Frank Pick had more influence Edward Johnston, early drawing of Underground Roundel patterns designed by Morris can still be bought on the look of 20th-century London than any featuring Johnston font, c.1925 to decorate homes. other individual. Like Morris, Pick had a passionate belief in the social and civic value of applied art Influenced by Morris, Pick established the concept ‘Water House’, the former home of William Morris and design and its impact on London. He believed of ‘total design’ as the Underground’s unifying in Walthamstow, is now open to the public as the that if things were well designed, people would principle, and many of his innovations are William Morris Gallery. The Morris family lived feel happier within their surroundings: still essential parts of the Underground system, there from 1848–56, when Morris was a teenager. including the now iconic roundel logo used for You can find out more about the William Morris ‘Art has to come down off its pedestal station signs, for the design of which he appointed Gallery in the Directory, page 44. and serve its living.’ Frank Pick calligrapher Edward Johnston. Pick also asked Johnston to develop a corporate typeface Committed to good design and its use in public ‘Johnston’, which has been used on the life, Pick steered the development of London Underground since 1917. 9 Design Research Unit (1942–2004) Victoria line & Sir Misha Black (1910–1977) The Victoria line was the first entirely new Tube line in London for 50 years, and was Design Research Unit (DRU) was a design designed using cutting-edge technology to relieve consultancy operating between the fields congestion on other lines as well as above ground of architecture, graphic and industrial design. and reduce travel time. The publicity declared It sought to harmonise art and design with the Victoria line ‘London’s Pride’. technology and industrial processes, in order to establish high-quality design for post-war Britain. In 1964, Misha Black (later Sir Misha), one of the DRU’s founding members, was appointed as consultant for London Underground to create the overall design aesthetic for the Victoria line.

Johnston font c.1925 The DRU held a progressive view of the integration of art and design, and their role in wider society. Pick had an interest in architecture and he Central to Black’s vision for the Victoria line were commissioned architects, notably Charles Holden the architectural design and material finishes, (1875–1960), to design a number of stations as along with the decorative tile motif designs that part of a construction programme between 1926 can still be found in the seating recesses at every and 1946. A great many Underground stations, station. He would, for example, have spent including many designed by Holden, have been months choosing the exact shade listed as key examples of early 20th-century of grey tiles for that particular environment. architecture. See below a station that was A full-size mock-up of Green Park station was designed by Holden: made, so that the team could experiment with how everything was positioned in the station (e.g. signage, clocks etc.) in order to craft the best environment for all of the Victoria line stations.

DRU were ground-breaking in the area of corporate identity, notably acting as coordinating architects for the Festival of Britain in 1951, and designing British Rail’s new image in the Tom Eckersley, Cut Travelling Time, Victoria line, mid-1960s. Black is also known for his iconic publicity poster, 1969 design of street name signs for the City of Westminster. DRU acted as design consultants to London Transport until the early 1980s. Exterior of Southgate station, Piccadilly line, 1944 10 The Official Royal Opening The Queen passed through the automatic gate Diagram of the Victoria line The official opening ceremony of the section from and took the escalator to the platform, where Walthamstow to Victoria took place on 7 March she gave a speech and declared the Line open. 1969. Queen Elizabeth II was received on a blue She then took her place in the cab with the carpet outside Green Park station. After a short driver and pressed the buttons to start the ceremony, the party descended to the ticket train, remaining at the controls during the hall, where the Queen was invited to purchase short journey from Green Park to Oxford Circus. a 5d ticket (old pence) from the new automatic machines. Tickets in 1969 were made from yellow pasteboard with a brown magnetic coating. The brown coating was a metal oxide that carried a magnetic code. When the ticket was put into the ticket gate at the end of the traveller’s journey, the gate would be able to detect where the traveller had come from and the correct fare required. If the traveller hadn’t paid enough, the gate wouldn’t let the person out. For an image of the Queen’s ticket, see Classroom Activities – ‘A Cutting-Edge Ticketing System’, page 34. Queen Elizabeth on the first Victoria line train, 1969 Interesting Facts about the Victoria line Here is a video clip link of the Queen at the · Construction of the Victoria line began in controls: britishpathe.com/video/queen-opens- 1962 and involved skilled teams of engineers, new-victoria-line architects, surveyors, planners, draughtsmen, electricians, steel erectors, carpenters, The Queen was the first reigning monarch ever bricklayers and labourers. to ride on London Underground. This was her second time on the Tube. At Oxford Circus, the · The construction set a world record for soft- royal party inspected the station operations rooms, ground tunnelling of 470 feet (140 metres) CCTV and the ticket office, then returned in one of per week. the carriages to Victoria station, where the Queen unveiled a commemorative plaque in the ticket hall. · The Victoria line is in twin tunnels about 12 feet in diameter, with concrete or cast-iron linings, Two years later, the 3.5 mile extension from at an average depth of about 70 feet. Victoria to Brixton was opened by Princess Alexandra at Brixton station on 23 July 1971. · It is a deep-level London Underground route This extension completed the Victoria line running from Brixton in South London (Zone 2) Queen Elizabeth on the first Victoria line train, 1969 as it is shown today on the Tube map. to Walthamstow in north-east London (Zone 3). 11 · It runs entirely below ground and has 16 stations. · All of the new station ticket halls except · The track length is 14 miles, making it the Blackhorse Road were below ground. second shortest Tube line. The ‘Waterloo and · It crosses six local authorities: Waltham Forest, City’ is by far the shortest line, and at just 1.47 Haringey, Islington, Camden, Westminster miles it takes only four minutes to travel from and Lambeth end to end. · In 1969 the estimated cost to build the Line · All of the stations, except Pimlico, have was 91 million pounds. It was funded by the interchange facilities with either National Rail Government and the Greater London Council. lines or another Tube line. The new tunnels were arranged to give direct cross-platform · The Line was named after Victoria Railway interchange wherever possible. Station, which in turn was named after Queen Victoria. Other suggestions had been ‘Walvic · Northumberland Park Depot is the service and line’ (Walthamstow–Victoria) and ‘Viking line’ storage area for trains on the Victoria line, as (Victoria-King’s Cross). well as the only part of the Line above ground, but only staff are permitted to ride on this · On the Tube map, the Line is pale blue. The first section. The trains are washed, cleaned and colour selected to identify the new line was royal checked for mechanical efficiency each day purple, but this colour was not easy to achieve at the Northumberland Park Depot. successfully in vitreous enamel, the material used to produce LU signs, since it changed · At the cutting edge of technology, the Victoria during the firing process. ‘Nanking blue’ was line was the world’s first full-scale automatic therefore chosen instead. This colour itself railway. All trains carry a train operator (driver), tells a story of intermingling craft and culture. who has safety responsibility for the train and It is called ‘Nanking’ after a style of 18th-century Team tunneling the Underground; Blackhorse Road passengers. The train operator closes the train Chinese porcelain, which was so popular that station, c.1969 doors and presses a pair of ‘start’ buttons, and it was found on household tables throughout if the way ahead is clear, the Automatic Train Western Europe and North America. · The journey time from Brixton to Walthamstow Operation (ATO) drives the train at a safe speed Central is 28 minutes. to the next station. · The original 1967 trains were originally made of unpainted aluminium and were · Trains run every two minutes during peak times. · Each platform, constructed specifically for built in Birmingham. the Victoria line, is 132.6 metres (423 ft) long. · Trains can reach speeds of up to 50mph because · When the Victoria line opened, it had an there are no sharp curves and because the · From the start, the use of CCTV (closed circuit automatic ticketing system. This was removed stations are further apart than on other television) screens gave train operators a view in 1972. The benefits of automation would lines. In central London, trains cannot drive of the further ends of the platform. only be realised when installed across faster than 30–40 mph because of the short the whole system in the 1980s. distances between stations. 12 · The Line has hump-backed stations to allow Original Victoria line Design · Fluorescent lights were fitted in a single trains to store gravitational potential energy Features by Design Research Unit strip suspended from the false ceiling. For the as they slow down, and release it when they platform headwalls all operational equipment leave a station, providing an energy saving · A uniform scheme of platform finishes was was contained in polished metal cabinets, of 5% and making the trains run 9% faster adopted throughout the Line. For example, with signal lamps mounted neatly on one edge. to a speed of 87.2km/h. the escalators were all clad in aluminium. · The 1967 trains were designed to have more · In 2010/11, raised platform sections were spacious interiors than previous models. installed at all Victoria line stations, except Pimlico, to provide step-free access to trains. · Originally, every station was tiled in light grey This improves access for customers with 6-inch square tiles. The exact shade of grey mobility impairments, luggage or pushchairs. tiles was carefully chosen to provide a neutral background for posters and signage and, being · Around 50 ventilation shafts were constructed a standard colour, could easily be replaced along the Line. New ventilation techniques were if damaged. Other colours were used in ticket used to minimise draughts on the platforms and halls to give an individual appearance to each to keep the Tube cool. station and to help make elements such as columns stand out for safety amongst the · There is a World War II air-raid shelter below moving crowds. Stockwell station. Victoria line platform at Euston station, c.1969 · Darker grey tiles were used around the · The Line is used by 200 million passengers platform archways, and dark blue, black each year, exceeding the original forecast by · Platform walls were built out from the tunnel or grey tiles around the poster panels. nearly three times. It is the most intensively lining in order that they might be vertical rather used Line, based on the average number than curved (see image). · A design feature introduced by Black that of journeys per mile. differentiated each station in a unique and · The platforms are all straight, unlike other Lines. colourful way was individual tiled motifs in the seating recesses on the platforms. · The original roundel symbols bearing the station This helped passengers to identify a specific names were displayed on back-lit panels at most station as they pulled into it. Prominent stations. The roundels have since been replaced artists and designers were commissioned by vitreous enamel versions, with the exception to create the motifs, which related either to of Pimlico, where the originals are still installed. the station or the history of its surrounding area. The tile designs still exist today, although · A deep enamelled iron frieze ran the length the original designs for Oxford Circus and of every platform, showing the station name Green Park have been replaced. See the in white on a Nanking blue ground with exit original tile designs on pages 14–15, or visit: Image of original escalators, c.1969 directions on a black band above (see image). victorialinetiles.co.uk 13 Julia Black, Walthamstow Central station Hans Unger, Blackhorse Road station Edward Bawden, Tottenham Hale station Hans Unger, Seven Sisters station

Crosby, Fletcher & Forbes, Warren Street station Hans Unger, Oxford Circus station Hans Unger, Green Park station Edward Bawden, Victoria station 14 Tom Eckersley, Finsbury Park station Edward Bawden, Highbury & Islington Tom Eckersley, King’s Cross St.Pancras station Tom Eckersley, Euston station

Peter Sedgley, Pimlico station George Smith, Vauxhall station Abram Games, Stockwell station Hans Unger, Brixton station 15 Drawing on the themes of Underline, the In line with European design trends, the creators 2. following section focuses in more detail of the Victoria line style believed that efficient Blackhorse Road: a black horse on the history, art and design of ten of service was best communicated by keeping the by Hans Unger the 16 stations. appearance of station interiors minimal. One exception to this strict rule was agreed: to give West of Walthamstow seems to be a jumble travellers an insight into the history of the area, of industrial ruins and struggling communities each station would have special tiled panels. from global locations. But look closer to explore In this way the Line was linked with Islamic art, the jewels hidden in these streets – part of the classical sculpture and the crafts of printmaking, revival of east London’s craft heritage. Nearby ceramics and lettering. Artists and designers gave is Blackhorse Workshop, a publicly accessible each station exuberant tiled murals in the platform hub of artisans making bread, beer, and working seating areas. These panels of colour, form and with wood and metal. North of the station is line joyfully tell the stories of the world above where the first red London bus – the ‘B type’ ground, its people and history, and they bring – was made. Forming a fleet of over 3,000 universal craft techniques into this most modern vehicles, they not only travelled across the city of environments. but also far away to Germany, Greece and Egypt in the early 20th century. Go west to discover 1. the serene open lands of the River Lea /Lee valley. Walthamstow Central: William Morris textile And why ‘Blackhorse’? Sadly there never was print by Julia Black a black horse: the area was first named after a now-demolished ‘Black House’. Spanning the metropolis from the hills and marshes of north-east London to the inner suburbs Visit: Blackhorse Workshop; Lea Valley Park; south of the city, the Victoria line starts in Walthamstow Wetlands/Reservoir Walthamstow, childhood home of William Morris. He looked back romantically to a time when books, 3. Interior of the driver’s cab of a Victoria line 1967. The Train Operator is seated at the driver’s console, using the textiles and building interiors were made by hand, Finsbury Park: crossed pistols public-address telephone reviving the technique of wood-block printing to by Tom Eckersley reproduce patterns inspired by classical European Ten Stations and Asian motifs. His friend William de Morgan If we believe the legends, Finsbury Park was a by David Lawrence (1839–1917) borrowed patterns and techniques heathland where gentlemen met to settle disputes from the Middle East to craft exquisite ceramics. in violent ways – represented by the flintlock Underline recognises the close relationship The two Williams sparked the idea of modern pistols of the platform murals. Now the park is between design, craft and transport. We have design across Europe, and their idea of beauty a breathing space for this exciting north London selected ten locations along the Victoria line for through function remains inspirational today. centre of arts, culture, music, sport and food. The their range of cultural and historical references. superhuman scale of the Arsenal football stadium The tile panels are our guide (see all 16 tiled Visit: William Morris Gallery; has its opposite in many small clusters of culture motifs, pages 14 –15). Vestry House Museum along Blackstock, Seven Sisters and Stroud Green 16 roads. And all of London can be seen by heading 5. Park is populated with memorials to citizens of north from Finsbury Park to Alexandra Palace Oxford Circus: crossed dotted many social groups and centuries. From Piccadilly along the Parkland Walk – a forgotten section lines by Hans Unger Circus to Hyde Park Corner, a grid of streets built of the Underground system. as estates to extend Georgian London contain The junction of Oxford Street and Regent Street great hotels and art galleries. Up into Mayfair Visit: Finsbury Park; the Parkland Walk; Finsbury brings together royalty and retail and is the true we find smaller art and fashion centres. In Park Creative Hub centre of London’s west end. Here the station every direction there are more parks and squares was created right below the intersection of John opening up the skyline, whilst another royal 4. Nash’s processional route for George IV, the way route – the Mall – links Buckingham Palace Euston: the ‘Euston Arch’ the Romans travelled from London to Oxford and with Westminster along the meeting line of by Tom Eckersley north wales. The British Broadcasting Corporation Green Park and St James’s Park. speaks to the world from near Oxford Circus, The London and Birmingham Railway was Britain’s and the world comes here to shop in the dazzling Visit: Royal Academy; Institute of Contemporary first inter-city railway, made to bring products department stores, which grew up at the same Arts; Horse Guards Parade, Buckingham Palace to the metropolis for sale and export. An area time as the first London Tube railways. William of luxury housing at Euston Square was chosen Morris once had a shop on Oxford Street selling 7. to build the terminal station and a public plaza. his designs. Around Oxford Circus are galleries, Pimlico: op-art Central to this unique example of urban design museums and places of worship representing by Peter Sedgley in London was a great Arch or propylaeum, global art, design and culture, including based on classical Greek architecture, to form The Photographers’ Gallery in Ramilies Street. The Victoria line crosses rivers large and small. a symbolic gateway between city and railway, Near the Circus were the former village of Pimlico began as an island bordered by tributaries history and new technology. It was a later Marylebone and the old centre of London’s of the River Tyburn and the River Thames. Now phase of modern development – around the fashion industry around Great Titchfield Street. it is a dense community of homes and hotels, time when the Victoria line was built – that Also close by is Carnaby Street, a fashion centre featuring some of London’s first public housing caused the Arch to be demolished. Nearby of the ‘swinging sixties’ . at Millbank Gardens. Pimlico also gave the lived innovator in zoology Robert Grant, and world its first modern prison and it was upon the ‘Bloomsbury Group’ of early 20th-century Visit: Portland Place; Carnaby Street; Wallace this site that Sir Henry Tate created a centre writers and artists. The ‘Coburg Street Control Collection; Soho; The Photographers’ Gallery for his collection of British art. The Tate Gallery, Centre’ handled all Victoria line signalling and referenced in Pimlico station with ‘op-art’ tiles operations until 2013. 6. by artist Peter Sedgley, pioneered the collection Green Park: a grid of trees of international modern art throughout the 20th Visit: Grant Museum of Zoology; the squares by Hans Unger century, and since the opening of Tate Modern of Bloomsbury and Fitzrovia; British Museum; in 2000 has been restored to its original purpose Camden Lock and Market; Institute of Making King Charles II preferred parks to streets, so he as Tate Britain. created a green space on the edge of 17th-century London to provide a verdant ride from parliament Visit: Tate Britain; Pimlico Farmers Market; to palace. This has produced a rest and recreation Tachbrook Street Market; Vincent Square space now accessible to all Londoners. Green 17 8. concrete shell soaring over 6,000 square Vauxhall: Representation of the metres of space. From here, thousands of Old Vauxhall Pleasure Gardens men and women, many from new London by George Smith communities, have provided public transport across the metropolis. Outdoor events are the secret of this location. Neighbouring Oval is named after an internationally Visit: LOST Theatre; South Lambeth Road cafés known cricket ground. For two centuries (1660– and restaurants 1859), Spring Gardens was home to Vauxhall Pleasure Gardens with its many fantastical 10. pavilions, a site of festivals, games, circuses Brixton: a ‘ton of bricks’ and other pleasures by day and by night. They by Hans Unger hosted the premier of Handel’s Music for the Royal Fireworks, sent visitors high over London in hot-air The Southern terminus of the Victoria line brings balloons, and were the first model for what we us into the heart of the dense inner-city district now called ‘theme parks’ around the world. Now, where London’s Afro-Caribbean community the City Farm gives natural charm to this busy settled in the early 1950s. Brixton’s markets transport centre, with its restaurants and cafés underneath the brick railway arches are glorious serving food from throughout southern Europe. displays of food and drink from around the A number of new art galleries are due to open world, enhanced in recent years by new from 2016, joining established neighbours communities from Africa and Portugal. The Beaconsfield and Gasworks. historically difficult living conditions in the area have produced important political activists Visit: Vauxhall City Farm; the River Thames Albert and movements. Brixton has generated ground- Embankment; Beaconsfield; Gasworks breaking music from David Bowie to Poly Styrene and the Stereo MCs, with a brilliantly diverse club 9. culture. Since 2014, Black Cultural Archives have Stockwell: a swan on water made Brixton their base, bringing together and by Abram Games celebrating the diverse histories of migrant The Afro-Caribbean and Latin communities communities. of South Lambeth grow outwards from the crossroads of the old Swan public house, Visit: Black Cultural Archives; Ritzy Cinema; Stockwell. Next to the station the A3 trunk road Brockwell Park runs between Tower Bridge and Portsmouth – a historical link connecting London to the international maritime centre. Step away from the busy traffic to Binfield Road and discover the innovative Stockwell Bus Garage, a visionary 18 Classroom Activities Aims · To develop an understanding about Underline Introduction and the five commissioned artists’ projects. In this section you will find Underline Journeys: · To develop an understanding about the Schools Music Competition (page 22), plus a range Victoria line. of activity ideas for children and young people · To develop an understanding about Underline’s of all ages. Although they have been devised with partner organisations. schools in mind, these activities are also suitable · To support Arts Award in schools through for families or other non-school groups using the Underline activities and partner organisations. Victoria line. Objectives A range of activity ideas are included, linked to · Students will learn about Underline and the the Underline project and to the Victoria line activities and events that will be going on as itself. These ideas are intended as a starting point part of the project. for you to plan and deliver activities for children · Students will learn historical facts about the from KS1 to KS5. Each activity can be tailored Victoria line and the importance of art and by you to meet the needs of your students. design during the development of the Line. · Students will engage with a variety of activities The activity ideas cover the following subjects: inspired by Underline in different subject areas. art & design, dance, literacy, drama, music, design & technology; STEM (science, technology, Learning Outcomes engineering & mathematics); geography, history · Students will explore ideas inspired by and photography. There is also an activity relevant Underline. to British Values in SMSC (spiritual, moral, social · Students will engage with the Victoria line in and cultural education). a more informed way. They will gain knowledge about the Line and what to look out for. A number of the activities can also be used · Students will be keen to impart knowledge to to support delivery of the Arts Award. Where their families as they travel the Line together, relevant, this is indicated at the start of the giving a ripple effect to the project as students activity. Information about Arts Award and share knowledge and teach their families about an Arts Award Mapping Resource can be found the Victoria line. on page 21.

A wide range of partners are supporting Underline, and can be found near Victoria line stations from Walthamstow Central to Brixton (and back again!). Details of Underline partners can be found in the Directory on page 39. 19 Arts Award and Underline develop the delivery of Arts Award in their setting, with the help of trained support Arts Award is a range of unique qualifications consultants. A whole host of additional support that support children and young people to is available too, including a specialist helpdesk develop as artists and arts leaders. Through taking and face-to-face support from the Arts Award part in the awards, young people develop their team at Trinity College London. To find out communication, creativity and leadership skills, more, please visit artsaward.org.uk/support and explore the world of the arts. There are five levels, four of which (Explore, Bronze, Silver There are a wide range of partners supporting and Gold) are accredited qualifications on the Underline – you can find the complete list Qualifications and Credit Framework (QCF), while in the Directory section from page 39. Many Discover is the introductory award. Discover and of these partners offer activities suitable for Explore levels are suitable for primary-age Arts Award. This is indicated in the Directory. children and above, while Bronze, Silver and Gold are suitable for secondary-age children and above Many of the activities in this resource could (up to age 25). support your delivery of Arts Award. Where relevant, these are marked with Arts Award. Underline offers a variety of learning experiences that can support young people working towards an Arts Award at any level. If you are already delivering Arts Award in your school you can use this resource and some of the suggestions included for different parts of the award.

If you are interested in delivering Arts Award through engaging with Underline, or alongside other areas, the first step in getting started with Arts Award is attending adviser training. Public training courses run regularly across the country, or you can book in-house training for six or more staff. The next step is running your project or programme of activity. You can find out more at artsaward.org.uk

If you are already trained as an Arts Award adviser, you can access free support and guidance to help you with delivery. Support surgeries provide an opportunity for existing advisers to explore and 20 Delivering Arts Award through Underline: Mapping Resource Arts Award Element Level Potential Activities Take a walk to your local Tube station and look out for all the different kinds of art on the way to the Discover / Explore station, or at the station itself. How many different art forms can you see on the way to/at the station? (E.g. Architecture, music, ceramics, film, graphic design).

Explore the Arts as Bronze Visit / listen to / watch one of the Underline commissions. an audience member

Visit / listen to / watch one of the commissions, and explore one of the Underline partner Silver / Gold Underline organisations (see Directory from page 39). Find a new art form that can extend your practice.

Take part in Complete any of the Art and Design activities from from this Guide. For different levels of the award, All the arts consider more in-depth research, development and creation stages.

Discover / Explore Look at and explore one or all of the Underline commissions and how they are created.

Bronze Research one of the Underline commissions, the artist and organisations with which they are involved. Learn about artists and their work Research one of the Underline commissions, the artist and organisations with which they are involve. Silver Find out about the Underline partner organisations, particularly those local to you, and explore the training and career opportunities in that area of the arts. Research one of the Underline commissions, the artist and organisations with which they are involved, Gold and review their work. Get involved in the work of the arts world by undertaking a placement, training or research in one of the Underline partner organisations.

Share/perform the works created as part of activities, including reviews and feedback from Sharing skills All Underline participants, classmates or other young people undertaking the award.

Developing Plan, deliver, review an arts project or event. This could be in partnership with an station, Silver / Gold Underline leadership commission or participating organisation. For example, arts tours of local areas.

21 Underline Journeys: Your challenge: technology to manipulate the sounds, School Music Competition compose a piece of music that reflects a e.g. reverse them, speed them up, stretch journey travelling along the Victoria line. them or chop them into smaller parts. art.tfl.gov.uk/underline-music-competition Begin by watching the short video of Matt Rogers 5. Record some of your own samples, such Open to children age 5 –18, attending school* talking about his work and what the Victoria line as the school cafeteria, corridors or traffic means to him. outside the school. Welcome to Underline Journeys, a music 6. Your samples along with Matt’s samples competition open to all schools based in Resources: Matt Roger’s video, Matt Roger’s will become the soundscape for which the Greater London area*. This competition is Sample Set (see URL), Tube map you produce your finished piece of music. your chance to get creative and produce an audio track inspired by the sounds of the Victoria line. What you need to do 7. The structure of the piece should be based on the station stops and the arrival at the 1. Look at the Tube map and choose the final platform. stations and local areas that you would like to pass through (we suggest you choose 8. Write a short text, maximum 100 words, two, but you might like to choose more). introducing your piece and the samples Think about which stations and areas you have used. may produce the most interesting sounds (e.g. Brixton market). Once your compositions are complete, use them to enter the competition, following the 2. Brainstorm the ideas that you would like instructions below. The winning composition to reflect in the music, e.g. the sounds wins a special workshop with composer of people, announcements, rhythmic track Matt Rogers for their class! Three-quarter view of a 1967 Tube stock train on the sounds, brakes, slowing and speeding of Victoria line, 1966-70 the tempo, the increase and decrease in Take the listeners on a journey! dynamics, the different layers (texture), The overall winning composition wins a special the different timbres (e.g. metallic, Teachers’ Instructions: masterclass with contemporary composer Matt footsteps, electric sounds). How to Submit Your Entry Rogers, one of the five Underline commissioned artists. (For background to Matt Rogers see 3. Play around with motifs and rhythms and 1. Downloading the audio sample set page 26.) begin to put together the different sections of your music. Use percussion, vocals and tuned · Go to art.tfl.gov.uk/underline-music-competition instruments in any way that you would like. · Download the audio sample set · Students can use these audio samples to create 4. Incorporate one or more extracts from Matt their mixes Roger’s Sample Set. Think about how this can be done most effectively. You can use music 22 2. Creating a Soundcloud account · Enter a Description · Make sure you have a way to identify which · Go to soundcloud.com student created each track · Click ‘Create account’ – top right · Leave the track set to ‘public’ · Enter an email address and password · Click ‘Save’ · Read the Soundcloud Terms of Use · Once all the student’s audio pieces have been and Privacy Policy added to the School’s Soundcloud account, · Click ‘Create account’ go to the ‘User’ drop down – top right · You will be asked to verify the account email · Select ‘Profile’ address before you can upload any audio – · Copy the URL/link of the profile page you you will be emailed a verification email land on – you will need this to enter the music competition · If uploading multiple files at once un-check 4. Entering the music competition ‘Make a playlist when multiple files are selected’ · Go to art.tfl.gov.uk/underline-music- · Click ‘Choose file to upload’ competition · Select one or multiple files · Fill out the competition entry form (including · Click ‘Open’ the URL/link to the School’s Soundcloud · Soundcloud will now begin uploading your file(s) profile page) · Before you enter please make sure you read Whilst they are uploading, fill out the the Terms and Conditions on this page carefully. track information: (By clicking ‘Submit’ you agree to T&Cs) · Click ‘Submit’ *Terms and Conditions on page 54 3. Uploading audio to Soundcloud

You can upload AIFF, WAVE (WAV), FLAC, ALAC, OGG, MP2, MP3, AAC, AMR, and WMA files to Soundcloud. The maximum file size is 5GB. · Login to your Soundcloud account (if you aren’t already) · Click ‘Upload’ – top right

· Enter the Title of the piece · Enter the Tag ‘Underline Music Competition’ 23 The Commissions: Activities Art & Design Activity combinations, and then decide on the colours Design with Limited Patterns that you want to include in your design. 1. & Colour Palette Alternatively you could use paper and card Giles Round & Design Work Leisure (DWL) to draw and cut out the tile designs yourself Arts Award: Take Part in the Arts, Sharing Skills art.tfl.gov.uk/underline/gilesround 4. Once you are happy with your design, Resources: Design Work Leisure patterns, colour stick it into place. palette and tile designs, pages 58–60, paper, card 5. Look at all the designs in your class. Context: As part of Underline, Giles Round has Which design is your favourite and why? created tile patterns inspired by the work of William Morris. Many of these particular designs Art & Design Activity are made in response to Morris’ family home, Red Tube Seat Fabric Design House, which was co-designed by architect Phillip Webb and William Morris in 1859 in the Arts and Arts Award: Take Part in the Arts Crafts style. Located in Bexleyheath, its interior walls were decorated with hand-painted murals and motifs by Morris and his friends. This experience inspired Morris to set up his own company, Morris & Co. Red House is now owned by the National Trust.

Steps: The first artwork by DWL was installed at Brixton station 1. Look at the tile patterns created by in July 2015. Look out for other artworks as they appear Giles Round. at Victoria line stations. 2. Look at the limited colour palette that Drawing on William Morris’ belief that good design Giles Round has used. leads to a better society, artist Giles Round has established a design office, Design Work Leisure, 3. Use the designs as inspiration for creating inspired by London Underground’s rich design your own tile designs, and combine them heritage, including the Design Research Unit in a 3 x 4 pattern as Giles has in the example. (see page 10), to develop a series of functional You may use the same tile pattern as often artworks for the Victoria line. These products as you wish. Photocopy your designs so will be used and enjoyed by staff and passengers; that you can cut out and move your tiles Fabric design by Giles Round, 2008 for example, special-edition travel wallets around. Experiment with putting the tiles were given away free at Victoria line stations in different orders and turning them in Resources: Giles Round pattern design (above), to launch Underline. different directions. Try out various colour Victoria line seat fabric image (page 25). 24 Context: Giles Round has established a design Dance Activity 2. Motifs office, Design Work Leisure, to create functional Is it Possible to Improve the Machine? Pull all of your ideas together and take artworks for the Victoria line as part of Underline. Choreography inspired by DWL design decisions on movement motifs that you might Look at the two pattern designs he has created. use. What is the mood or theme of your Arts Award: Take Part in the Arts, Sharing Skills piece? Which dancers will dance when? Will Below is a picture of the current seat fabric in dancers dance together at any point(s)? a Victoria line trains. Resources: Is it Possible to Improve the Machine? Remember to think about including layers image by Giles Round (on page 24, or in situ such as highs and lows of height for variety. at Brixton station), (optional) Sample Set by Matt Rogers art.tfl.gov.uk/sample-set 3. Music Think about the music that would fit with the Steps: ideas and motifs that you are thinking of. Look at the Is It Possible to Improve the Machine? Listen to ‘Sample Set’ by contemporary artwork, located at the main entrance/exit stairs composer, Matt Rogers. These are a set of at Brixton station. Use this image as your stimulus audio samples comprising sounds of the to create movement/dance. Victoria line. Could extracts be suitably atmospheric to use somewhere in your piece? 1. Ideas Share with your group pieces of music that a) Brainstorm ideas as you discuss in small you think would be effective. Decide what groups or as a class how you interpret the music you want to use and in what order. words. How do they make you feel? Do any Could you use percussion, or body percussion emotions spring to mind? What do you think (e.g. finger clicks, clapping, stamping feet)? Is Giles Round was trying to express? Why do there anyone in your group who plays a you think he positioned it where it is at Brixton musical instrument who could play as part of station? How big is the installation? Discuss the piece? Are there any words that you want why you think he might have chosen this scale. to incorporate or rap?

Victoria line seat fabric (known as moquette) b) Look at the design patterns closely, exploring 4. Movement the shapes and repetitions. Are they jagged Once you have tried out movement ideas and Steps: or rounded? How might these patterns and taken decisions on the music/sounds that you 1. Begin by copying the current design into shapes inform your movement, e.g. swirls, will be using, begin to move/dance. Think your sketchbook. Try to use the same angular movements etc.? Could the patterns about the tempo (speed). Practice and set colour palette where possible. be used as your floor plan in some way? what individual dancers are going to do, so How do the colours that have been used make that you are able to repeat it. Think about 2. Design your own Tube seat fabric design. you feel? How do the colours work together? where you would ideally like your piece to be Sketch ideas into your sketchbook, performed – is it right for a stage, or a station experimenting with different designs c) Discuss as a group how the words and emblem foyer? and colours. pattern combine together as an art installation. 25 5. Discuss ideas for costume and lighting. There are already different ways of hearing music organisations (see Directory, page 39) – they on the Victoria line. At some stations, licensed are all located near to a Victoria line station. 6. Performance & feedback: Perform your musicians play at busking pitches. Some stations Choose some places or stations that sound piece to others. Ask for feedback. also play classical music via their PA system in interesting, and visit one of them if you their foyers, to create a calming effect on a busy can. Alternatively, you can draw on your Useful research: environment. experience of what it’s like to travel on Metropolis (1927) – Suitable for Key Stage 3 other Tube lines. upwards (rated PG). This is a silent black and white Rogers will be creating an exciting selection German Expressionist film directed by Fritz Lang. of different music compositions especially for If you want to research background or It is a long film, so you may prefer to watch an the Victoria line. Some will be pre-recorded and historical information about the Victoria extract of it. It is set in the future of 2026 (100 played in stations and there will be a series of line, use this learning guide to help you. years after the film was produced); wealthy live events in April 2016. Rogers has also produced This activity just needs personal experience industrialists rule the vast city of Metropolis from a Sample Set of audio recordings, which is freely and anecdotes to be added in by you. high-rise tower complexes, while a lower class available for anyone to download and use. For the of worker is under ground, toiling constantly latest updates see the URL. 2. Write down your thoughts in the form of to operate the machines that provide power a poem or rap. Adding an element of rhyme for the wealthy people above who are enjoying Literacy & Music Activity will help it to flow and sound poetic. themselves. To find out the rest of the story, you’ll have to watch it! Make sure you notice Arts Award: Take Part in the Arts, Sharing Skills 3. Rehearse your words. Think about the tempo how the underground workers move. (speed) of each line and where you will take Resources: Matt Rogers Sample Set (download breaths. Think about how you will use your 2. from art.tfl.gov.uk/sample-set), Tube map. voice to best effect and any techniques Matt Rogers you will use such as whispering, laughing Context: Begin by watching the short video or incorporating different vocal sounds or art.tfl.gov.uk/underline/mattrogers of Matt Rogers talking about his work and what body percussion (e.g. finger clicks). the Victoria line means to him (see the URL). Matt Rogers is a British composer who has written 4. Read or perform your lyrics to the class. for and with a host of leading instrumentalists, Steps: Whose piece do you like the best and why? ensembles and technologists, creating music 1. Brainstorm ideas and installations for concert halls, theatres Think about what the Victoria line represents The next stage is to add your beats or and galleries. For Underline, He will collaborate to you. What experience have you had on the soundscapes. The sounds will create a with the ensemble London Sinfonietta to create Victoria line? Where do you go on the Line? backdrop for the lyrics. Use Matt Roger’s contemporary classical music to be played live Is it a way home? Does it take you to a place Sample Set to make beats or as a backdrop. on the Underground in April 2016, exploring where you gain new experiences? Does it You may additionally choose to create ideas of chance encounter and relocation, as enable you to meet up with friends or family? soundscapes (see extension activity). well as site-specific music and what a score is. Does it give you independence? What could it be or do? If you haven’t been on the Victoria line itself, look at the Underline partner 26 Sampling 3. Steps: Sampling is a process of recording sounds. Liam Gillick 1. Write a story that is inspired by or Sampling is often used in hip-hop, drum-and-bass incorporates the image within it from one and pop. Sometimes unusual sounds are used art.tfl.gov.uk/underline/liamgillick of the tiles (e.g. a maze, seven elm trees, to make a beat (e.g. a ping pong ball, a lion roaring duelling pistols etc.). You might enjoy etc.). Matt Rogers has created his own Sample Liam Gillick is a British conceptual artist challenging yourself to incorporate a few of Set by recording the sounds of the Victoria line. who lives in New York City. His practice has the designs into your story or all 16 of them! They are samples of ‘real’ sound. encompassed a wide range of media activities including sculpture, writing, architectural 2. Read your stories to the class. and graphic design, film and music. As part 5. Make beats using rhythmic elements of the of Underline he will be creating a series of 16 Drama Activity: Monologues sample set. 20-second films entitled McNamara ’68 that Underground Characters draw on footage filmed on the Victoria line. 6. Put your beats together with your lyrics. ’68 is a reference to 1968, the year when the Arts Award: Take Part in the Arts, Sharing Skills Practice and perform them. Victoria line opened. The films will be shown on the platform cross-track projectors Across Resources: your eyes and ears, a notebook to 7. Record them. the Underground. For details see the URL. record observations and write down your ideas, Character Profile resource sheet on page 67 Optional extension activity: Literacy Activity: Writing a story Tales of the Tile Steps: Soundscape 1. When you are travelling on the Victoria line, A soundscape is music composed to represent a Arts Award: Take Part in the Arts observe people around you. Look out for particular environment or landscape, e.g. a storm, people who work on the Victoria line as well a train or a bustling market. Context: Just as Liam Gillick is exploring the as passengers. Brainstorm as a class and write unique qualities of the different Victoria line a list of all the jobs you think there are within stations, we are going to create our own story the Tube network: e.g. Tube train driver, ticket 8. Create soundscapes as the background inspired by one of the Victoria line tile designs. officer, London Underground Chief Executive, for your rap/poem. What is going on in The tiles are found in the seating recesses on seat-fabric designer, engineer etc. the background that you would like to each of the 16 Victoria line platforms. Each design reflect in your soundscape – e.g. echoes, was designed specifically for that station. The 2. Choose a character and write a monologue for footsteps etc? Experiment with different artwork on the tiles relates to the station itself or that character that takes place somewhere on ideas and instruments. the surrounding area. Misha Black commissioned the Victoria line (e.g. in a carriage, in the foyer prominent artists to create images for the panels of a station). A monologue is when a character 9. Perform them and give each other feedback. (see page 14–15). is alone on stage and expresses their thoughts Make any necessary changes to improve out loud, which enables the listener or them. Do they take the listener on a journey? Look at the designs. Which is your favourite? audience to know how they are feeling. And why? William Shakespeare incorporated lots of 10. Perform and record them. monologues within his plays in order to reveal 27 key information to the audience (e.g. how Extension – development of activity: Character Profile a character was feeling, something they had Can you thread all of the monologues together (see worksheet, page 67) done, or were about to do, such as proposing into one class performance? Think creatively. to their girlfriend etc.) Character name: Nickname if used: Your character could be inspired by one of the Male or female: Tube workers or a passenger that you thought Age: looked interesting. What are the themes or Marital status: subject of what your character is expressing in this monologue? To help create your character, write Other important family: a profile by answering the questions opposite. Nationality: 3. Once your monologue is complete, the next step is to speak it out loud in order to check Job: that it flows well. What emotions are involved in the piece? For example, is your character Hobbies: happy, jealous or angry? Think about the speed (e.g. fast/slow) and dynamics (e.g. Physical appearance: loud/soft) that you will use for each word or phrase to make the piece interesting. Are any dramatic pauses required in your monologue? Physical characteristics, e.g. walks with a stick, squint etc. 4. Get into small groups and listen to each other’s pieces. Give helpful feedback. How does their voice/accent sound, 5. Think about how you could stage them e.g. Scottish accent? using minimal props and costume.

6. Try adding Matt Rogers’ Sample Set (download Any habits, e.g. biting nails, fidgeting, at art.tfl.gov.uk/sample-set) to help create the catch phrases? atmosphere of the Tube as your character speaks. Adding simple lighting such as lights- up at the start and blackout What is your character wearing? at the end will add to the atmosphere.

7. Perform the group pieces to the class. What are their dreams for the future?

8. Film your performance and watch it back. London Underground staff at work 28 4. 5. Zineb Sedira Assemble art.tfl.gov.uk/underline/zinebsedira art.tfl.gov.uk/underline/assemble Artist Zineb Sedira has lived in Brixton for twenty Assemble is a collective of 18 members based years. Visit her website to see her work, which in London who work across the fields of art, includes photography, installation and video. architecture and design. They began working Below is an example of her photography. together in 2010 and their aim is to address the typical disconnection between the public and the process by which places are made. Assemble champions a working practice that seeks to actively involve the public as both participant and collaborator in their work.

For Underline, Assemble will work directly with local community groups (i.e. London Underground Yardhouse designed and built by Assemble staff, schools, residents) to create an installation at the entrance of Seven Sisters station. Blackhorse Workshop Blackhorse Workshop is an Underline partner organisation (see Directory, page 39). Blackhorse Workshop was designed and built by Assemble and opened as a public venue by the Blackhorse team in 2014. The space in Walthamstow, provides affordable access to tools, workspace, and on-site technical expertise. Building on the area’s rich heritage of craft, the workshop is a new type of institution, aimed at cultivating and disseminating a culture of making and mending. Zineb Sedira, The Lovers, photograph, 2008

Another example of Assemble’s work is A recurring theme in Sedira’s work is a fascination Yardhouse, an affordable workspace building with water and flow, and the mobility of people. in Stratford, east London. For Underline, she will be developing a new film work that draws upon the connections between Assemble is working together with other open- the Victoria line and the city’s natural networks. access workshops with the aim of building a Much of Sedira’s work is filmed abroad and this network that makes workshops a familiar part commission will be her first piece based in Blackhorse Workshop designed and built by Assemble of our city, just as libraries or leisure centres are. London. Visit the website for latest news. 29 Literacy Activity: section). They are digitally generated patterns 4. Choose your colour palette and complete Shipwreck silk-screen printed onto ceramic tiles. They your tile designs by adding colour. Poetry inspired by photography incorporate faces into the patterned design. 5. Share your designs with the class. Arts Award: Take Part in the Arts, Sharing skills Which is your favourite and why?

Resources: The Lovers photograph by Additional Art & Design Activities Zineb Sedira (page 29) Design from Nature Steps: [Do not tell students the title of the photograph Arts Award: Take Part in the Arts initially.] Look at the image. What words, emotions and ideas spring into your mind? Resources: Sketchbook, paper, pencil, crayons Use the image as the stimulus to write a poem. William Morris grew up in the countryside. Discuss in pairs what title you think would fit Zineb Sedira, Quatre Generation de Femmes – Patterns His keen observation of nature continually Zineb’s image. [Reveal the actual title to the class, and Faces, 1997 informed his work. He advised would-be pattern and discuss it.] How does the artist’s title differ designers to abstract from nature rather than from the titles you came up with? Does it change Sedira also has a tile design on her website that copying literally. how you think about the image? Do you think incorporates texts in French and English within it fits with the image? Why? the pattern. William Morris had a life-long passion for books and in the last years of his life he turned Make sure your poem has a title. Think about Steps: his attention to book-making. Inspired by the the difference your title makes, just as Zineb’s 1. Design and sketch, or create on the computer, medieval manuscripts that he had collected, title affects the image in her photograph. your own unique tile that incorporates either and frustrated by the poor standards of Victorian Once you have finished your own poem, part of your body or extracts of text that are book design, Morris set up his own printing share it with your class. personal to you. company, Kelmscott Press.

Art & Design and Technology 2. Decide on the part(s) of your body that you He aimed to create books of beauty, designed Your Tiles would like to use (e.g. hand, eye) and in pairs to the highest standards and made with the take the required photographs. best available materials. The Kelmscott Press Arts Award: Take Part in the Arts was in operation from 1891 until 1898. During its 3. Print out your photos and incorporate them short life it produced 52 titles that had a lasting Resources: Visit zinebsedira.com into your design – try printing multiple copies influence on book design. Although the bulk of of one image and repeating it in a symmetrical titles printed at the press were Morris’ own works, Context: Look at artist Zineb Sedira’s website to pattern as Sedira has in her design. If you he also chose to print works by writers whom see the tiles (under Quatre Generation de Femmes are using the computer, you can digitally he admired, such as William Shakespeare and – Patterns and Faces, 1997 in the ‘installation’ manipulate your images into your design. Geoffrey Chaucer. 30 Morris. You can have fun exploring the garden, taking rubbings of different plant leaves, bark, seed heads etc.

William Morris, K5 News From Nowhere, Kelmscott Press, Publication date 1890

1. Research the style used by the Kelmscott Design Work Leisure emblem prototype tile, 2015 Press. If possible, visit the William Morris Gallery,Walthamstow (see Directory, page 39) Extension activity: Create a cover design, where there is an exhibition room about the including colour, for your favourite book. Kelmscott Press. Design for a Home 2. On paper or in your sketchbook, draw the first initial of your name. Allow space for a border. Arts Award: Take Part in the Arts

3. Look at nature for inspiration; look in a William Morris garden at the William Morris Gallery, Resources: Trellis wallpaper image on page 32 garden, go to the park or explore somewhere Lloyds Park, Walthamstow and DWL patterns on page 58 new such as Walthamstow Wetlands (see Directory, page 39). When looking at nature, 4. Decorate your initials. Giles Round has 1. Look at this wallpaper design by William what plants, shapes, colours and textures used William Morris’ practice and the Design Morris, which he created for his home can you see? Research Unit as inspiration for Underline. Red House, in Bexleyheath. He wanted to He has designed patterns and tiles that create the feel of a medieval walled garden. You might like to use Make Your Mark: The incorporate the initials of his design office Drawing Book for Children by Sarah Richardson, ‘Design Work Leisure’, see prototype design 2. Compare Morris’ design with the more graphic which encourages children to take rubbings for DWL tile. designs of Giles Round, who was inspired from nature using a crayon and a piece of paper. by Morris. It also teaches us how nature grows in spirals (e.g. a spider’s web, the bark of a tree). At the William 3. Create your own wallpaper design for a room Morris Gallery there is a garden inspired by William in your home, or choose another building to 31 design for. Decide what sort of property Create Your Own ‘Nanking’ Using nature for inspiration, sketch your own plate and room you’re designing the wallpaper for Inspired Plate Design design. What shape will your plate be? Research (e.g. your bedroom, a restaurant or a palace). and choose the animals and plants that you would Arts Award: Take Part in the Arts like to incorporate into your design. Pay attention to how you will decorate the edge of the rim. Resources: Search ‘Nanking pottery’ online How intricate will your design be? Once you have for images, sketchbook, pencil, crayons/paints sketched it out, decide on the colours you would like to use. William Morris also used nature as the inspiration for his art and design (see Trellis wallpaper design).

STEM Activities (Science, Technology, Engineering & Maths)

Design & Technology & STEM Design a Tunnel

Link to primary topic: Transport

nationalstemcentre.org.uk

When building the Victoria line, 32 miles of William Morris, Trellis wallpaper, 1862 Chinese Nanking oval dish (circa 1760) tunnels were driven through London blue clay by teams of skilled miners. The Line crosses Look at different images in magazines or On the Tube map, the Victoria line is a pale blue under the River Thames. The construction had online for inspiration. Create a mood board colour known as ‘Nanking blue’. The colour to be planned very carefully to ensure as little with different images. Let the place you are tells a story of intermingling craft and culture. disruption as possible to the existing Tube lines designing for inform your creative decisions. It is called ‘Nanking’ after a style of 18th-century on the network. The construction team also Decide what design-style you would like Chinese porcelain, which was so popular it was had to factor-in causing minimum disturbance to use, whether ornate like Morris’ work, or found on household tables throughout Western to properties above ground, the public and more abstract and graphic like Giles Round’s Europe and North America. road traffic. Additionally, an important design designs. Experiment, sketching ideas into objective for the Victoria line was to avoid your sketchbook. Look at the image of a mid-18th-century Chinese creating curved tunnels. Nanking oval dish with a shaped edge. The dish 4. Think carefully about your colour palette. is a typical design and has a central scene of a Activity A willow tree, flowers and a very large dragonfly 5. Share your ideas with your class and explain painted by hand, with a trellis and scroll Investigate how you go about building a tunnel. your creative decisions as a designer. decoration around the inner edge and rim. What shapes work well structurally? Research 32 two different tunnels and how they were built, Activity C descriptions/roles of these key people. e.g. the Channel Tunnel linking England and Design & Construction Activity What were their different viewpoints? France (modern) versus the Greenwich Foot Tunnel linking Greenwich with the Isle of Dogs Resources – straws, sticky tape, cardboard 2. Present your arguments using (Victorian). What similarities and differences Using the above resources, experiment with historical resources. can you find out about how they were built? building your own miniature tunnel. Use triangles What different functions do they serve? to create lattice shapes for strength. Once you have a tunnel shape, roll a toy train (if you have Investigative Geography Project Activity B one that fits!), a marble, or another object through (see worksheet, page 68) it. Experiment with how much weight can be Logistical problem: when building the Victoria placed on your tunnel. How is the construction Enquiry questions: line, how did engineers decide where to put the of a tunnel different from a bridge? stations and how to get the Tube lines through? 1. Why was the Victoria line built? Extension Activity 1 1. Look at the image of the Victoria line Start with the tunnel you have already 2. How many other Tube lines cross under at Oxford Circus being constructed: constructed. How could you add more tunnels the River Thames? and stations to make a network like the Tube? 3. Why did they choose to put the Victoria line Extension Activity 2 stations where they did? Make your own recycled marble run using egg boxes, cardboard, masking tape, scissors and 4. What tunnelling methods did they use? a large box. It’s great fun, whether at home or at And why? school. This link shows you how to get started: kidspot.com.au 5. What difference does the soil type make when building a tunnel? History, Geography & IT Activities 6. Research what the area is like above the Maps stations. For activities on maps visit page 9 of the 2. Watch this BBC programme, first transmitted following resource: art.gov.uk/labyrinth/learning 7. Population – what is the current population in 1969, which tells the story of the (Part 2 – Classroom Activities) of London? construction of the Victoria line: bbc.co.uk/ programmes/p00sc29t (duration 40 minutes). Construction of the Victoria line 8. Data/Numeracy – investigate and give a diagrammatic representation of the amount/ 3. Research the methods that the construction Investigative History Project volume of people using each of the 16 Victoria team used so as to cause as little disruption 1. Who were the key people making decisions line stations. Which station is used the most/ as possible to the existing busy Tube network about the Victoria line when it was built? least? Give reasons why. in the capital. Research the names, dates and job 33 Investigative Geography Project 3. How do the Oyster cards that we use today A Cutting-Edge Ticketing System work? What are the benefits of this system compared with the original 1968 system? The first tickets for the Victoria line were made out of cardboard. Because this is a natural fibre, they had a tendency to swell in the rain, or to bend in people’s pockets, which meant that they sometimes did not fit through the ticket barrier machines. Unlike today, in 1969 the technology wasn’t advanced enough for the different machines to be connected to other electronic networks (e.g. telephone or online) to enable them to be synchronised. Original automated ticket barriers at Oxford Circus, c.1969 The aim of this investigative project is to explore the success of the Oyster card system. Below Enquiry questions: is the travel wallet design by Giles Round (DWL) 1. Research why the automated ticketing for the launch of Underline: system that was in place when the Victoria line opened in 1969 was quickly removed. Queen Elizabeth using the new ticket machines, 1969 What lessons were learnt from this experience? How have advances in Extension: Literacy activity technology been vital to the new system What person or people would you most like to of Oyster cards, which are now used share a Tube carriage with and why? Write down across the entire Tube network and buses? your answers and read them out in a group or to the class. 2. Look at the image of the Queen buying her ticket on the day she officially opened the Investigative History Project Victoria line in 1969. The Queen paid 5d Passengers through the Ages (in old pence) for her ticket. Look at the image of the sculptures found outside What happened next? What would be Finsbury Park station. What periods from history the equivalent value in new pence today? do you think the people represent and why? Compare and contrast the three characters by Here is a link to the Queen’s ticket researching into the different periods in history. (London Transport Museum object 1998/2888): ltmcollection.org/museum/object/link. Ask key questions such as: What names might html?design=abc&_IXSR_=1Sf8TNN2ZaI&_ they have? What might they be wearing? Where DWL travel wallet, 2015 IXMAXHITS_=1&_IXFIRST_=232 might they be going? What mode of transport 34 might they take to go on their journey? discover that he has travelled into the future Photography Project – Underground What might the price of their ticket be? and London has been transformed. The smog Through a Lens What do you think they are carrying on their has disappeared and the city is green and journey (e.g. iPhone, hat, water bottle, newspaper healthy. Factories, pollution and oppressive Resources: a device to take photographs (camera, etc.)? What jobs do you think they might have? government have vanished. People share phone etc.), Oyster card. Please note: you resources and have no concept of private must not take flash photographs and/or use property. Craftsmanship and creativity a tripod or other camera support equipment flourish. Invigorated by what he has seen, in any part of the London Underground. Guest returns to his own time with renewed determination to take up the struggle. Context: Art and design has always played an important In the extract below, William Guest describes part on the London Underground. When you go what he can see, having woken up and to a Victoria line station, be aware that when it found himself in the future: was originally designed, every element was very carefully considered in terms of the materials ‘Both shores had a line of very pretty used to make it, how it was made and what houses, low and not large, standing back it looked like. Misha Black (see page 10) aimed a little way from the river. There was to make things that had a practical purpose a continuous garden in front of them, but were also aesthetically pleasing to the eye. Public sculptures outside Finsbury Park station going down to the water’s edge in which the flowers were now blooming Steps: Literacy, Photography & Music Activities luxuriantly, and sending delicious 1. Go to a Victoria line station and look around waves of summer scent over the carefully. Take photographs of things that you Literacy Activity eddying stream.’ William Morris find particularly interesting or that make the News from Me station unique. See if you can spot any original 2. What do you think Morris was trying to features. For example, look at the image of Resource: News from Nowhere, a novel by achieve by writing this story? Do you think Finsbury Park station opposite. Look carefully William Morris (from your library or order online) his ideas are as relevant today as they were at the different features: when he wrote them? Why? Context: As well as being an artist, designer, a. The original tiles on the left of environmentalist and socialist, William Morris 3. Write a poem or a few paragraphs of prose the photograph. was also a writer. His most important and in your own words about what your ideal b. The modern pigeon spikes to influential book was News from Nowhere (1890). vision for London in the future would discourage pigeons from landing. be. Think about how we can make our c. The original iron-work light above the Steps: city work better for the people in it and entrance. How many sides does the 1. Read News from Nowhere or alternatively the role of green spaces. light have? What is this shape called? this plot summary: In News from Nowhere d. The detail and design of the door entrance. the narrator, William Guest, wakes up to 4. Share your piece with others. 35 e. The modern loudspeakers either side of Photography project – Above Ground the door for passenger announcements. f. The floor design. Resources: device to take photographs g. The different materials that have been used. (camera, phone etc.), Oyster card

2. Experiment with interesting and unexpected Context: as well as the artists’ commissions angles to take your pictures from. Try to taking place through Underline, and the art and capture the detail. design features of the Victoria line itself, you might be surprised by the art you can find in 3. Display your photos at school. the areas near stations. Explore the district around Which is your favourite photo? Why? your nearest station, or choose another station to visit.

Steps: 1. Can you find any interesting pieces of artwork close to the stations to photograph? Can you see the name of the artist?

Good examples to look out for are: Sea Strata, a permanent artwork by John Maine found at the entrance to Green Park Eduardo Paolozzi’s ventilator shaft at Pimlico station (near the Ritz). Note the swirls cut into the concrete on the floor. Eduardo Paolozzi’s 5. Choose one photograph that you think best decorated ventilator shaft at Pimlico represents the Victoria line. Explain why. (see image), which includes a diver, a fish, a clock and a plane. Extension Activity 1 Do you prefer urban or natural environments? 2. Pick one artist to research when you get back. Photograph interesting things/places outside any stations you visit. Which green spaces are nearby? 3. Once back at school / home choose your Contrast urban scenes with natural ones. favourite photographs and edit them down to eight images to create your own montage sheet to print out on A4 paper, or create Original design features at Finsbury Park station your own PowerPoint presentation.

4. Share this with your class, explaining why you have chosen the images.

36 Family Activities Challenge 2 Which Victoria line station is this? Grab your Oyster cards and head out to explore the Victoria line as a family. There’s so much to Resources: Which Victoria line station is this? explore. You’ll be amazed at the art and design resource sheet on page 61, an Oyster card, a pen to be discovered! or pencil

Challenge 1 Go to a Victoria line station: Labyrinth 1. Pick up a free pocket Tube map, from any station. (Notice the artwork on the front Resources: ‘Match The Labyrinth’ resource sheet Young people exploring Labyrinth at Embankment cover, has been designed by an artist, as on page 62–65, a pen or pencil and an Oyster card station, 2013 part of an ongoing series commissioned by Art on the Underground.) Visit any of the 270 stations on the London Unique Number Underground network and you will find a labyrinth Each Labyrinth artwork has a number on the by artist Mark Wallinger. Labyrinth is a series of bottom right-hand corner. This number is like 270 unique permanent artworks commissioned by a code and is unique to that labyrinth. It refers Art on the Underground in 2013 to celebrate the to the order in which the station was visited for 150th anniversary of the London Underground. the 2009 Guinness Record Tube Challenge route. A labyrinth artwork lies in wait at every station, Similarly, each Underground train carriage has to be found by you! You will need to hunt for the a unique identification number. These numbers labyrinths since they can be found anywhere at can be 3, 4 or 5 digits long. the station (e.g. near an entrance, on the platform, in a corridor etc.). Part of the fun is finding them. Labyrinth Family Each one of the 270 Labyrinths belong to X Marks The Spot one of eleven design families. Design Families Travel along the Victoria line and find each resource sheet, page 66. Pablo Bronstein, Design for a Magnificent London station’s labyrinth. The red cross marks the spot Underground Grand Pendulum in gilt bronze, 2015 ‘Your journey starts here’. Starting from the cross, Your challenge is to work out which Victoria line trace the path to the centre and back out again station labyrinth belongs to which design family. 2. Plot your chosen route. using your finger. Try closing your eyes and see Are you ready for the challenge? if you can still find your way. 3. As you go on your journey, spot the images For further information and schools learning and tick them off on the resource sheet. You’ll notice that there’s only one way in and out resources (e.g. how to draw your own labyrinth) All of them, apart from the busking station, again. This single path, with no choices or dead- about Labyrinth and artist Mark Wallinger’s work are unique to that station. How many can you ends, is what makes it a labyrinth and not a maze. visit: art.tfl.gov.uk/labyrinth/learning find? Did you hear any buskers playing? What You can’t get lost in a labyrinth. Each labyrinth other sounds can you hear in the station? has a unique path. 37 38 Directory

39 Directory There are high expectations of quality in · Annual conference, including a marketplace cultural education and creative opportunity · event with colleagues from arts and Here you can find details of the Underline partner Young people are able to influence culture · cultural organisations organisations, their location (including nearest There are more platforms for young talent · Exclusive teachers’ evenings in a range Tube station), their offer to schools, and whether to get their work noticed · of arts and cultural venues they are able to support Arts Award activity. All young Londoners have the opportunity · Artsmark support and information, You will also find their contact details for more to work in the creative and cultural sector · including Discover Artsmark – information and information. Organisations are listed in order of exploration sessions in every London borough Victoria line stations. We believe that together we can make London the Artsmark ‘Introductory Days’ (delivered on best city in the world for young people’s cultural · behalf of Arts Council England), for schools Partner organisations not based on and creative development. embarking on the Artsmark process. the Victoria line, providing opportunities across London. Information for Schools Information, news, and support Schools cultural education toolkit A New Direction Offer for Schools · Research, case studies, information A New Direction works with and for formal and · on good practice online informal education settings, young people and anewdirection.org.uk #ANDtogether: bulletin board of cultural the arts and cultural sector in London. Through · 20–26 Brunswick Place education offers to schools (together. our partnerships we create positive change across London N1 6DZ anewdirection.org.uk) (this is an office address – not open to schools) schools, education and communities to ensure @AND_schools: highlighting information and that young people get the most out of London’s · 020 7608 2132 opportunities for cultural education via twitter extraordinary creative and cultural offer. [email protected] Regular half-termly newsletter for schools All our support for schools is free of charge. · Weekly bulletin on cultural education We offer a range of opportunities for London · schools, all of which are free of charge. About For more information visit: A New Direction is London’s leader in cultural Professional development and events · anewdirection.org.uk education, connecting children, young people for teachers and school leaders Email: [email protected] and education with the best of arts and culture. · Our Cultural Ambassadors programme Our mission is for all children and young people develops system leaders in the arts and culture, Cost information: in London to have a great cultural education supporting schools to develop their cultural Free of charge to London schools and the freedom to lead a creative life. offer as well as to work across existing networks INSET for teachers: a series of full-day events · Arts Award developing teachers’ knowledge and skills in Our vision A New Direction is an Arts Award Centre, Children and young people’s access to creative the arts and culture, and offering opportunities · offering the following levels directly to young and cultural opportunity is not dependent to network with peers as well as colleagues from people: Discover, Explore, Bronze, Silver, Gold on wealth, geography or luck a range of arts and cultural organisations · Cultural education in London is the best in the world 40 A New Direction works to support schools and Information for Schools theatre, creative writing/spoken word, music the arts and cultural sector to develop their Arts production and sound. Participants create Award provision. We also offer Arts Award Works with the following Key Stages: original artwork in collaboration with artists, training for individuals wanting to train to deliver EYFS, KS1, KS2, KS3, KS4 KS5 which express their ideas and develop new the award, and support for trained advisers. skills. Projects are accessible to young people Works across the following curriculum areas: of all abilities and backgrounds, and result in For more information email: All areas, but especially Arts, Humanities, high-quality performances, exhibitions, and [email protected]. Citizenship, PSHE and Sciences. publications. Each project is unique and some are targeted at particular groups (such as young All Change All Change has been delivering combined arts parents), so do get in touch to find out if we projects in community and education settings have something that suits you. allchangearts.org since 1985. Each project is unique and tailor-made 16–34 Graham Street for the target participants, designed in partnership For more information contact Naomi: London N1 8JX with the host community or school to meet their 020 7689 4646 020 7689 4646 aims and objectives. Projects are delivered by [email protected] [email protected] professional artists with experience of working in schools and can include a combination of London Sinfonietta Admission: All activities are free art forms including photography, visual arts, Opening hours: Varies for individual projects creative writing, theatre, dance, music, digital londonsinfonietta.org.uk Nearest Tube: Varies for individual projects arts and more. Kings Place 90 York Way N1 9AG About For more information visit: (this is an office address – not open to schools) Since 1985 All Change has been bringing artists allchangearts.org 020 7239 9340 and communities together to develop original [email protected] and innovative combined arts projects, which Cost information: transform lives and make a real difference to Cost dependant on individual project details. Admission: Variable communities in north London. All Change works Opening hours: N/A with over 700 people of all ages and abilities every Arts Award Nearest Tube: Varies for individual projects year, especially groups of people who often don’t All Change is an Arts Award Centre, offering get the chance to participate. Working creatively the following levels: Discover, Explore, Bronze, About with professional artists both in schools and Silver, Gold The London Sinfonietta’s mission is to place the in informal settings, participants develop skills and best contemporary classical music at the heart confidence, express their ideas, broaden All Change is an Arts Award Supporter of today’s culture, engaging and challenging their horizons and share their stories through All Change offers Arts Award at all levels. We the public through inspiring performances of performances, exhibitions and publications. run combined arts projects in different settings the highest standard, and taking risks to develop We involve people in high-quality, powerful led by professional artists and young people new work and talent. The ensemble is Resident arts experiences, which support them to think working together, offering a range of art forms Orchestra at Southbank Centre with headquarters differently and to instigate change in their lives. including: photography, digital arts, dance, at Kings Place, and continues to take the best 41 contemporary music to venues and festivals Arts Award animation, printmaking, photography, fashion, across the UK and worldwide with a busy touring London Sinfonietta is an Arts Award Supporter. vehicle design, architecture, illustration, sculpture, schedule. Since its inaugural concert in 1968 Most of our concerts and events throughout the curating and critical writing. the London Sinfonietta’s commitment to making season can be attended as part of Arts Award. new music has seen it commission over 300 All ReachOutRCA workshops are based around works, and premiere many hundreds more. ReachOutRCA the artist or designer’s practice, so every The core of the London Sinfonietta is 18 principal workshop is different and we don’t target players, representing some of the best solo rca.ac.uk/more/reach-out-rca particular key stages. Our aim is to support and ensemble musicians in the world. Royal College of Art practitioners to develop workshops that are Kensington Gore engaging for a range of ages and abilities. Information for Schools London SW7 2EU [email protected] Please email us if you would like to be added Works with the following Key Stages: to our mailing list. We will let you know when KS2, KS3, KS4 About workshops are available, and if you book a ReachOutRCA is the Royal College of Art’s workshop we will work with you to ensure that Works across the following curriculum areas: engagement programme. We establish inspiring the themes and activities explored are suitable Music and innovative exchanges between young people, for your group. their teachers and the RCA community. Our We give schools the opportunity to workshops share the wide-ranging benefits of For more information visit: experience the music of today through concerts, creative thinking and making with young people, rca.ac.uk/more/reach-out-rca in-school projects and teacher training. Our teachers, families and community groups across rca.ac.uk/more/reach-out-rca/reach-out-rca- Primary and Secondary school concerts inspire London, and provide opportunities for RCA projects pupils and teachers with the creativity of students and graduates to develop their skills [email protected] composers in the 20th and 21st centuries. Using and experience. repertoire on the curriculum and exciting new Cost information: works, we explore the limitless source of musical Information for Schools Workshops are free for school groups ideas. Focusing on creative composition in the classroom, our new training programmes provide Works with the following Key Stages: Arts Award primary and secondary teachers with the tools KS1, KS2, KS3, KS4, KS5 ReachOutRCA is an Arts Award Supporter. to deliver high-quality music education. Works across the following curriculum areas: Other Information For more information, visit: Art, Design & Technology, Literacy Students at the Royal College of Art exhibit their londonsinfonietta.org.uk/takepart or contact work twice a year: there are work-in-progress Ed Marsh: [email protected] ReachOutRCA workshops are free and are open shows in December/January and a degree show to state primary schools, secondary schools and in June. These exhibitions take place at both the Cost information: colleges. Our workshops take place throughout RCA’s locations in Kensington and Battersea, and Variable. Please enquire for further details. the year and are led by students from a wide are free to visit. There is a wide variety of work variety of creative backgrounds including on display, with many students pushing the 42 boundaries of their field. School groups manufactured toys and games. The Museum’s developing new resources to support the history are welcome! Please check the RCA website collection also includes over 80,000 photographs curriculum at primary level, particularly units on for exhibition opening times and directions. of the local area, which are available to view local history. If you have an idea for a theme or by appointment and can be used to support topic you would like to explore with your class Down the Victoria line educational work in schools. The site is also home that is not covered above, please contact the to an award-winning garden and the Waltham Learning Officer, Sharon Trotter. Organisations listed from Walthamstow to Brixton Forest Archives and Local Studies Library (LSL). Waltham Forest Archives and Local Studies Walthamstow Central Information for Schools Library are fantastic resources for researching local history and inspiring school projects. Group Vestry House Museum Works with the following Key Stages: visits are available with an introduction from the KS1, KS2 (sessions available for other Key Stages archivist (most suitable for KS4&5). Please contact walthamforest.gov.uk/vestry-house upon request) the Archives and LSL to discuss your requirements Vestry Road and book an appointment. The learning studio Walthamstow Works across the following curriculum areas: can accommodate classes of up to 30 and London E17 9NH History, English, Citizenship, Design & students are welcome to use the garden for 020 8496 4391 Technology, Geography packed lunches. To join the schools e-newsletter [email protected] please send your name, school and email address The Museum offers object-handling sessions for to Sharon Trotter. Admission: Free schools. Visits can be tailored to meet the needs Opening hours: Wed – Sun, 10am–5pm of each class. Themes include ‘How Walthamstow walthamforest.gov.uk/Pages/Services/vhm- Tues, 10am–5pm has changed’, ‘Toys & Games’ and ‘Domestic life learning.aspx (schools & groups only) in the past’. Teachers can book a preparatory Nearest Tube: Walthamstow Central meeting with the Learning Officer or discuss their walthamforest.gov.uk/Pages/Services/Archives- requirements by phone. The sessions are fun and general-information.aspx About interactive and suitable for KS1&2. Vestry House Museum is the local history For more information contact Sharon Trotter, museum for Waltham Forest. The 18th-century The Museum also offers lively role-play Learning and Outreach Officer: listed building was once the parish workhouse and workshops for Key Stage 2 themed around: 020 8496 4391 is situated in Walthamstow Village, a conservation · Victorian School Days [email protected] area. It was later used as a police station and · The Home Front a private home before it became a museum. · The Workhouse Waltham Forest Archives and Local Studies Library The themed displays capture the unique heritage A variety of loan boxes are available for schools to Jo Parker and Steven Gardner of Waltham Forest, including the famous borrow to use in the classroom. Each box contains 020 8496 4391 Bremer Car (Britain’s first petrol-driven vehicle), real and replica objects, as well as an activity pack [email protected] a Victorian parlour, the costume gallery, a with ideas on how they can be used to support a (Please note staff work part-time and 1940s room and a wonderful display of locally wide variety of curriculum areas. The Museum is will get back to you asap) 43 Cost information: metalwork, books and archival materials, as on offer for primary and secondary schools, Self-led visits are free but must be booked in well as personal items such as Morris’ coffee as well as free downloadable learning resources. advance. Workshop costs vary (free up to £100 cup and satchel. The displays also explore how Introductory taught sessions include drawing tasks per class). he was inspired by different cultures, particularly and object handling to help students research and the Middle East and India. The displays have been investigate the Gallery. There are art and design- Arts Award designed to engage younger visitors and include based practical workshops led by professional Vestry House does not yet offer Arts Award. many interactive elements. There is also a artists, using high-quality materials. The Gallery dedicated learning studio, with space and also offers programmes that support literacy, William Morris Gallery resources to offer practical workshops for creative writing and citizenship. all key stages. wmgallery.org.uk The location of the Gallery in Lloyd Park is ideal Lloyd Park, Forest Road The Gallery offers a changing programme of for combining indoor and outdoor activity and Walthamstow, special exhibitions, including work by some the Gallery works with the Park’s education London E17 4PP of Britain’s leading contemporary artists. officer to develop joint programming. As well as 020 8496 4390 Exhibiting artists have included Grayson Perry, taught sessions, schools can book a free self-led [email protected] Jeremy Deller and Yinka Shonibare. visit, which includes a short welcome from the Gallery team. Admission: Free To help younger audiences get the most Opening hours: Wed – Sun, 10am–5pm out of their visit, we run free monthly activity The Gallery holds termly events for teachers Tues, 10am–5pm programmes for families and early years. and educators, including a curator-led tour (schools & groups only) The Gallery’s Young Curators Group is an of each special exhibition, an introduction Nearest Tube: Walthamstow Central & opportunity for young people aged 16–22 to our latest workshops and resources and Blackhorse Road to get involved, learn new skills and help artist demonstrations. There are also regular shape our offer for young people. CPD opportunities, e.g. teachers’ courses About on developing sketchbooks at Key Stage 2. The William Morris Gallery tells the story of Information for Schools the life and work of William Morris – the radical A termly teachers’ newsletter is also distributed. Victorian designer, craftsman, poet and social Works with the following Key Stages: To sign up please email wmg.schoolbookings@ activist. It is housed in a Georgian house, built in EYFS, KS1, KS2, KS3, KS4, KS5 walthamforest.gov.uk. the 1740s and set in Lloyd Park in Walthamstow, north-east London. The house was the Morris Works across the following curriculum areas: For information and details of current workshops family home between 1848 and 1856. Following Art & Design, Design & Technology, History, visit: wmgallery.org.uk/learning an extensive refurbishment, the Gallery won the Literacy, Maths and Citizenship Or contact Sharon Trotter, Learning and Art Fund Prize for Museum of the Year in 2013 Outreach Officer, Tel: 020 8496 4390, Email: and in 2014 was shortlisted for European Museum The accessible display of the Gallery’s collection [email protected] of the Year. The collection comprises over offers students the chance to experience first- 10,000 objects including original designs, textiles, hand the work and ideas of this world-class Cost information: wallpapers, furniture, stained glass, ceramics, designer. There is a wide range of workshops Self-led visits are free but must be booked 44 in advance. Workshops costs vary (start at £50); The Gallery team is also available to give blackhorseworkshop.co.uk. To register your subsidised rates for Waltham Forest Schools. presentations in Waltham Forest Schools interest in working with us in the future, please on our Young People’s programme. email [email protected] Arts Award William Morris Gallery will soon become Arts Award an Arts Award Centre, and is currently an Blackhorse Road Blackhorse Workshop does not yet Arts Award Supporter. offer Arts Award. Blackhorse Workshop The Gallery runs regular Arts Award network Tottenham Hale meetings for Waltham Forest teachers and blackhorseworkshop.co.uk educators in partnership with Chingford 1–2 Sutherland Road Path Walthamstow Wetlands Academies Trust. This is an opportunity to London E17 6BX come along and find out about the latest Arts [email protected] walthamstow-wetlands.org.uk Award developments, share best practice and [email protected] find out how the Gallery can support the delivery Admission: Bench Space from £15 for Walthamstow reservoirs of Arts Award. individuals 2 Forest Road Opening hours: Mon–Sat, 9.30am–5.30pm Tottenham For more information please contact Nearest Tube: Blackhorse Road London N17 9NH Sharon Trotter, Learning and Outreach Officer: 07772 085 185 [email protected] About Blackhorse Workshop offers open access to a Admission: £1.00 (13+ only) / free events Other Information fully equipped woodwork and metalwork studio Opening hours: Please call or email The Gallery runs a free Creative Project for for skilled designers and makers of all kinds. The Nearest Tube: Tottenham Hale / Young People aged 16–22 in the summer holidays. Workshop was founded with a mission to create Blackhorse Road This is a week-long intensive workshop, led by a new kind of public space to provide affordable a professional artist. It gives young people the access to tools and machinery for everyone, from About opportunity to build their portfolios, develop their the complete novice through to the professional London Wildlife Trust is working in partnership CVs, learn new skills and make new friends. The craftsman. The Workshop is generating a new with London Borough of Waltham Forest and work created is exhibited at the Gallery later in wave of makers by reinstating knowledge that Thames Water to create an amazing new nature the year. Many of the participants go on to join had skipped a generation and helping people to reserve, engaging London’s diverse communities the Gallery’s Young Curators’ group. hold onto the manual skills that the digital world through access to the site, volunteering and is letting slip by, skills that are crucially important outdoor learning. Walthamstow Wetlands Participants don’t need to be students of art – to our understanding of and approach to design. is under construction. The 200 hectare just to have an enthusiasm for making and looking Walthamstow Reservoir site in north-east at art. The programme is completely free. For Information for Schools London is being transformed into a distinctive more information or to signpost your students to urban wetland nature reserve and centre this opportunity please contact Rebecca Jacobs: Blackhorse Workshop’s schools offer is still for learning that is unprecedented in size [email protected] in development. For updates and details visit in London. When complete, it will be one 45 of the largest urban wetland nature reserves About furtherfield.org/programmes/outreach in Europe. Finsbury Park Creative Hub is a three-year arts Tel: 020 7689 4646 and regeneration programme bringing together Email: [email protected] Information for Schools local cultural organisations and the community for a series of creative projects designed to Cost information: Walthamstow Wetlands are not currently enhance the local area. The programme includes Variable – see individual websites for details suitable for school visits. To register your interest a number of new temporary and permanent in working with us in the future, please email artwork commissions aiming to improve the Arts Award [email protected] physical environment and promote a sense Finsbury Park Creative Hub offers the following of place. The initiative will create opportunities levels of Arts Award through All Change: Discover, Arts Award for local people of all ages to participate in Explore, Bronze, Silver, Gold Wathamstow Wetlands does not yet and enjoy arts and culture, including the rich offer Arts Award and varied programmes offered at Park Theatre; Highbury & Islington and Furtherfield in Finsbury Park. An Islington Seven Sisters Council project produced by All Change. Search online for the Estorick Collection.

Search online to find out more about nearby Park Theatre parktheatre.co.uk King’s Cross St. Pancras organisations, Bernie Grant Arts Centre and Furtherfield furtherfield.org Bruce Castle Museum London Wildlife Trust – Information for Schools Camley Street Natural Park Finsbury Park Works with the following Key Stages: wildlondon.org.uk Finsbury Park Creative Hub EYFS, KS1, KS2, KS3, KS4 KS5 12 Camley Street London N1C 4PW finsburyparkcreativehub.co.uk Works across the following curriculum areas: 020 7833 2311 020 7689 4646 Arts, English and Humanities, Citizenship, [email protected] [email protected] Design & Technology Admission: Free Admission: Variable – see individual Finsbury Park Creative Hub offers opportunities Opening hours: Winter: 10am–4pm. websites for details for local schools to engage with a number of new Summer: 10am–5pm. Opening hours: Variable – see individual commissioned artworks for public spaces, and Nearest Tube: King’s Cross websites for details to work with local cultural providers including Nearest Tube: Finsbury Park Park Theatre and Furtherfield – a digital art About gallery in the park. London Wildlife Trust is the only charity dedicated solely to protecting the capital’s wildlife and wild For more information please visit: spaces, engaging London’s diverse communities finsburyparkcreativehub.co.uk through access to our nature reserves, parktheatre.co.uk/creative-learning campaigning, volunteering and outdoor learning. 46 Information for Schools Arts Award Alongside the collection is the MakeSpace – London Wildlife Trust – Camley Street Natural a workshop where members (UCL staff and Works with the following Key Stages: Park does not yet offer Arts Award students) can make, break, design and combine EYFS, KS1, KS2, KS3, KS4 KS5 both advanced and traditional tools, techniques Euston / Warren Street and materials. Works across the following curriculum areas: Biology, Chemistry, Physics Institute Of Making Information for Schools

The London Wildlife Trust offers programmes instituteofmaking.org.uk The Institute of Making does not currently offer of study with practical activities that encourage Malet Place visits for school groups. Children and families pupils to carry out scientific enquiry in order University College London are welcome at events. For information see to develop scientific knowledge and conceptual London WC1E 7JE the website. understanding through the specific disciplines 020 7679 3248 of biology, chemistry and physics. We encourage [email protected] Arts Award pupils to develop scientific knowledge required Please note, not currently open to school groups. Institute of Making does not yet offer Arts Award. to understand the uses and implications of science, today and for the future. We have over Admission: Free Oxford Circus 20 years’ experience teaching children outside Opening hours: Variable – see website the classroom, giving kids brilliant hands-on for details The Photographers’ Gallery experiences. London Wildlife Trust’s nature Nearest Tube: Euston/Warren Street reserves are perfect for school trips and we offer tpg.org.uk a variety of packages to schools, from teaching About 16–18 Ramillies Street resources, wildlife lessons and green events to Institute of Making is a multidisciplinary research London W1F 7LW consultations and school grounds enhancement. hub for those interested in the made world: 020 7087 9300 from makers of molecules to makers of buildings, For more information please visit: synthetic skin to spacecraft, soup to diamonds, Admission: Free before 12:00 daily. wildlondon.org.uk/reserves/camley-street- socks to cities. Public events explore the 18 and under: free natural-park links between academic research and hands-on £3 / £2.50 (concession) Tel: 020 7833 2311 experience, and celebrate the sheer joy of £1 per person for pre-booked Email: [email protected] stuff. These events provide all makers with educational groups (including an opportunity to innovate, contemplate group leaders, 18 and under Cost information: and understand all aspects of materials and an free) Centre-led visits: £120 plus VAT for a 1½ hour inspiring place to explore their relationship to Opening hours: Mon–Sat, 10am–6pm session 10.30am–12.00pm or 1.00pm–2.30pm making. At the heart of the Institute of Making Thurs, 10am–8pm Self-led visits: £30 plus VAT per visit (times is the Materials Library – a growing repository Sun: 11am–6pm flexible) of some of the most extraordinary materials on Nearest Tube: Oxford Circus earth, gathered together for their ability to fire the imagination and advance conceptualisation. 47 About opportunities for teachers and students. Our Admission: Free The Photographers’ Gallery is the largest public twilight teachers’ sessions are led by artists and Opening hours: (During exhibitions only) gallery in London dedicated to photography offer free, professional development for teachers Wed–Sun: 12am–6pm in all its forms, from the latest emerging talent, working with photography. or by appointment to historical archives and established artists. Nearest Tube: Vauxhall Alongside the exhibitions the gallery also runs a For more information visit: full programme of talks and events related to the thephotographersgallery.org.uk/education About work on show or photography in its wider context. [email protected] Established in 1994, Gasworks is a non-profit contemporary visual art organisation working at Information for Schools Cost information: the intersection between UK and international £100 per workshop (concessions / full bursaries practices and debates. We provide studios for Works with the following Key Stages: available). General admission costs as above. London-based artists, commission emerging KS1, KS2, KS3, KS4 KS5 UK-based and international artists to present Arts Award their first major exhibitions in the UK, and Works across the following curriculum areas: The Photographers’ Gallery is an Arts develop a highly-respected international Photography, Art and Design, Science, English Award Supporter organisation. Our Teen residencies programme, which offers rare The Photographers’ Gallery welcomes group Tour programme supports the arts award. opportunities for international artists to research visits. Self-led groups can pre-book their visit Teen Tours invite young people, aged 13–19, and develop new work in London. All programmes and make use of our online exhibition resources. to plan, practice and deliver an exhibition tour are accompanied by events and participatory to the general public. For more information see workshops that engage audiences directly 90-minute group workshops are available Mon–Fri thephotographersgallery.org.uk/teen-tours with artists and their work. for up to 32 pupils. Camera Obscura Workshop: Groups will learn about this early optical device, Green Park Gasworks presents a yearly programme of four touching on both its scientific and art historical exhibitions accompanied by related events. With a connections. In pairs pupils will make their own Search nearby organisations Royal Academy focus on commissioning new work by emerging or pinhole Camera Obscura and go on to explore the and Linnean Society under-represented local and international artists creative potential of the format by making their at a crucial stage in their careers, the programme own photographs in our Camera Obscura Room. Pimlico provides extensive curatorial support towards what are often artists’ first major exhibitions Visual Literacy Workshop: This workshop gets Search nearby Tate Britain in the UK. Gasworks’ Participation programme pupils exploring individual photographs in our Even Better Together connects Gasworks exhibitions, through games, discussion and Vauxhall with its neighbourhood through workshops, practical assignments, in order to enhance interactive projects and events. The vision their visual literacy skills. Gasworks for the programme is developed in partnership with artists, participants and local organisations, Looking for new ideas and opportunities? gasworks.org.uk who help shape projects and activities. Our monthly education e-newsletter shares 155 Vauxhall Street photography project ideas, reviews and 020 7587 5202 48 Information for Schools on the programme contact Katie Orr, About Participation Programmer: Founded in 1981, the Black Cultural Archives’ Works with the following Key Stages: Tel: 020 7587 5202 mission is to collect, preserve and celebrate EYFS, KS1, KS2, KS3, KS4 KS5 Email: [email protected] the heritage and history of Black people in Britain. gasworks.org.uk/participation BCA is the UK’s first dedicated Black heritage Works across the following curriculum areas: centre based in Brixton. The centre offers access English, Design & Technology, History, Geography, Cost information: to their archive collection, a dedicated learning Art & Design, PSHE, Citizenship. Schools are In general, if schools want to develop activities spaces and an exciting programme of exhibitions welcome to visit the exhibitions. devised and led by artist educators, they will and events that explore British history from need to cover the costs. Otherwise, schools a unique perspective. BCA’s unparalleled and In addition, Gasworks generates several activities are welcome to visit the gallery for free and growing archive collection offers insight into with schools where teachers have collaborated Gasworks staff are very happy to speak with the history of people of African and Caribbean with the Participation Programmer to devise students and teachers. descent in Britain. The bulk of the collection is projects and workshops that meet the specific drawn from the twentieth century to the present needs of each school. As a result teachers Arts Award day, while some materials date as far back as are able to develop projects that introduce Gasworks does not yet offer Arts Award the second century. The collection includes students to contemporary visual practice. personal papers, organisational records, rare These collaborations also provide unique Stockwell books, ephemera, photographs and a small Continuing Professional Development (CPD) object collection. and mentorship opportunities for teachers. Search nearby LOST Theatre Information for Schools Further CPD opportunities are offered through Brixton Multiple Voices, a series of quarterly meetings Works with the following Key Stages: for locally based teachers, community workers, Black Cultural Archives KS1, KS2, KS3, KS4 children’s centres, family-support professionals, residents, parents and artists. At the meetings bcaheritage.org.uk Works across the following curriculum areas: individuals learn from Gasworks’ participatory 1 Windrush Square English, History, PSHE, Art & Design, Drama, approach and gain skills that can influence Brixton Music, Citizenship their individual work as well as Gasworks’ London SW2 1EF future activities. 020 3757 8500 We deliver an inspiring and engaging programme [email protected] of British Black history to all, including early years, Finally, working with families is a particular focus primary and secondary schools and young people. of the Participation programme and we welcome Admission: Free Our robust and exciting schools programme not enquires from schools interested in developing Opening hours: Tues–Sat: 10am–6pm only addresses the National Curriculum, but also their family learning activities. Nearest Tube: Brixton engenders a sense of pride in learners. We often work collaboratively with external providers who If you are interested in bringing your school bring new vision and interpretation to delivery. to Gasworks, or would like more information Our Learning Team develops programmes that 49 truly consider their audiences, by focusing on Arts Award Visiting London Underground both informal learning (community organisations, Black Cultural Archives does not currently adults, youth and families) and formal learning offer Arts Award Please contact Art on the Underground in the (schools, further, higher and adult education). first instance to arrange a visit to your local Other Information London Underground station Our learning aims are to: Our dedicated Youth Forum is aimed at young 020 3054 8128 · Create programmes and events based on people aged 16–26 years old and encourages [email protected] our unique archive collection. them to come together to explore and express · Develop partnerships and outreach activities Black heritage and culture in Britain. Opportunities Practical information on using the Tube that promote the development of community are provided to meet creative professionals, gain archive material. life-changing skills, unearth the hidden histories Visit art.tfl.gov.uk/visiting-information for a list · Collaborate and form reciprocal relationships of Black British heroes, as well as sharing new of links to practical information to assist your with other archives in order to provide skills and knowledge with other young people. visit to our permanent artworks and temporary enhanced narratives for exhibitions and exhibitions on London Underground displays.We place our archive at the forefront of our learning and exhibitions programming. TFL Journey planner tfl.gov.uk All activities delivered as part of our school Plan your route, from your street to your programme encourage learners to engage destination. Travelling by Tube gives useful with archive materials. Activities at the information and links to help to plan your journey heritage centre include cultural workshops, and people and history workshops that use Direct Enquiries directenquiries.com creative and interactive techniques to engage Detailed information on access to individual younger leaners. Film and enactment assemblies stations, including walking distances between take learners on an in-depth exploration platforms of historical themes and topics. For further assistance contact London Underground Customer Service Centre, London For more information visit: 0845 330 9880 (08:00–20:00, seven days a week) bcaheritage.org.uk/learning Tel: 020 3757 8501 Email: [email protected]

Cost information: General self-guided tours are free admission. School workshops and School visits are fee- paying. All enquiries should be directed to [email protected]

50 Useful Resources & Further Reading London Underground Official Handbook, Other useful books for schools Capital Transport Publishing, 1990 London Underground & Victoria line Sarah Richardson, Make Your Mark: The Drawing London Transport Museum Book For Children, Tate Publishing, 2012 David Bownes, Oliver Green & Sam Mullins, Visit the museum in Covent Garden, This book offers inspiring ideas and tips Underground: How the Tube Shaped London, or view the collection online for teachers and parents on how to get Allen Lane, 2013 ltmuseum.co.uk your children drawing Chapter two (Pick of Posters) discusses the influence of William Morris on Frank Pick; Chapter William Morris Programmes & YouTube Clips: five explores the political origins of the Victoria line Anna Mason and Carien Kremer, William Morris How They Dug the Victoria line in 50 Objects, William Morris Gallery, 2012 40-minute BBC programme first transmitted in Michelle Cotton, Design Research Unit: 1942–72, Illustrated in full colour this souvenir 1969 that tells the story of the construction of Koenig Books, 2011 guide tells the story of Morris’ remarkable the Victoria line: bbc.co.uk/programmes/p00sc29t achievements through key works in the Oliver Green, Frank Pick’s London: Art Design William Morris Gallery collection The Secrets of the Victoria line and the Modern City, V&A Publishing, 2013 Geoff Marshall, the brains behind the Station William Morris, News from Nowhere, Master App, takes us along the Victoria line: Mike Horne, The Victoria line (Illustrated History), Penguin Classics, based on Morris’ 1891 text londonist.com/2013/03/video-the-secrets-of-the- Capital Transport, 2004 This is Morris’ best-known work of prose. victoria-line The novel describes the encounter between David Lawrence, Underground Architecture, a visitor from the 19th century, William Guest, Capital Transport Publishing, 1994 and a decentralised and humane socialist future Section on the Design Research Unit’s vision for the Victoria line, with original sketches William Morris, Words & Wisdom, National Portrait Museum in association with William Paul Moss, Underground Movement, Capital Morris Gallery, 2014 Transport Publishing, 2000 The story of William Morris and his influence A history of train design from 1920s to 2000 through his own quotes and those of his peers

David Rose, Tiles of the Unexpected, Gillian Moss & Linda Parry, William Morris Underground, Capital Transport Publishing, 2007 and The Arts and Crafts Movement (A Design Source Book), New York: Portland House, 1989 The Brixton Extension of the Victoria line, London Transport, 1971 Linda Parry, William Morris Textiles, V&A Commemorative book published on the Publishing, revised 2013 opening of the extension in July 1971 A comprehensive guide to William Morris’ textiles

51 Art on the Underground Underline artists’ websites art.tfl.gov.uk Assemble Art on the Underground (AOTU) is London’s assemblestudio.co.uk largest art programme. We let everyone experience art, every day through unique Liam Gillick collaborations with world-class artists. Visit liamgillick.info the website for more information about AOTU, Underline, live projects on the Underground, Matt Rogers artists’ videos, learning resources and much more! gameshowoutpatient.com

A New Direction Giles Round gilesround.co.uk anewdirection.org.uk We connect children, young people and education Zineb Sedira with the best of arts and culture in London. We zinebsedira.com believe that together we can make London the best city in the world for young people’s cultural and creative development.

52 Credits David Lawrence, Kingston University; Suzanne Commissioned by Art on the Underground, Lee, All Change; London Transport Museum; in collaboration with A New Direction, Ed Marsh, London Sinfonietta; Rowan Baines, on the occasion of Underline, 2015 Carien Kremer, Anna Mason & Sharon Trotter, Vestry House Museum & William Morris Gallery; Supported using public funding by Katie Orr, Gasworks; Matt Rogers; Ian Tokelove, Arts Council England London Wildlife Trust; Janice McLaren & Jai Tyler, The Photographers’ Gallery; Rachel Treliving, Written and devised by Josie Muirhead Fraser Muggeridge studio, and Harriet Warden, Historical research and Ten Stations Blackhorse Workshop. by David Lawrence Edited by Louise Coysh and Laura Fuller Copy-edited by Melissa Larner Designed by Fraser Muggeridge studio

Image credits: All photographs © TfL from the London Transport Museum collection unless otherwise stated below. Pages 7, 24, 34, 37: Benedict Johnson; pages: 8, 31, 32: William Morris Gallery, London Borough of Waltham Forest; pages 7, 24, 31, 58, 59, 60: Giles Round, courtesy of the artist; pages 29, 30: Zineb Sedira, courtesy of the artist; pages 62–66: Mark Wallinger, courtesy of the artist; pages 25, 35, 36, 61: Josie Muirhead; page 29: Assemble; page 31: Ellie Mortimer.

David Lawrence is a writer, and a researcher into all places where people, design and movement meet. Author of A Logo for London and Bright Underground Spaces, he is an Associate Professor at Kingston University and a Research Fellow at the London Transport Museum.

With special thanks to Monique Brown, Black Cultural Archives; Olivia Clemence, Institute of Making; Hannah Coulson, ReachOutRCA; Laura Fuller & Anthony Ruck, A New Direction; 53 Terms and Conditions Underline Journeys: School Music Competition, see activity on page 22

1. **Entry to the Competition is only open to 4. Completion of the on-line registration form, 11. The judges’ decision is final and binding children aged 18 or under on the 13 October together with clicking ‘Submit’ indicates in all matters and no correspondence will 2015 and who attend school in the Greater acceptance of these terms and conditions. be entered into. The names of the judges London area or with a Chiltern, Epping will be made available on request, subject Forest, Three Rivers or Watford postcode. 5. The Competition begins on 13th October to applicable law. The Competition is divided into three age 2015 (“the Opening Date”) and runs until 18th categories: 5 – 11 years old, 12 – 16 years March 2016, 11.59pm (“the Closing Date”). 12. All entries should respond to the old and 17 – 18 years old. creative challenge set out in the brief. 6. The judges will pick one winner in each 2. To enter the Competition, a school must age category, and all three winners will 13. The maximum duration of a single entry create or have access to a SoundCloud be invited to a prize giving ceremony, must not exceed two-minutes in duration. account soundcloud.com. See Teachers’ on a date to be confirmed. Instructions: How to Submit Your Entry 14. Entrants are granted a free licence to use for full technical details on entering the 7. An overall winner will be selected from all Matt Rogers’ ‘Sample Set’ files available at competition and how to create your free the entries, with the prize being a Masterclass art.tfl.gov.uk/underline-music-competition SoundCloud account. Teachers may then Music workshop for the winner’s class at their within their entry. submit the audio work on behalf of the school with composer Matt Rogers during entrant and may submit multiple entries, Summer term 2016, on a date to be agreed. 15. Entrants must own the copyright to, or have but only one audio piece per entrant. all the necessary rights to use the audio they 8. There is no alternative prize submit as per SoundCloud’s Terms of Use. 3. Entries to the Competition must be or cash alternative. submitted for each School, using the 16. Winning entrants shall not object to any official entry form for each audio work that is 9. All winners must be able to provide editing or other minor alteration to their submitted, which is available at art.tfl.gov.uk/ the original audio track to the Promoter audio entry when used inside or outside under-music-competition. Any entry upon request. the remit of this competition. not made on the official online entry form or which is incomplete will be rejected. 10. Entries will be judged on their artistic merits 17. While entrants retain copyright and The Promoter shall not be responsible (taking into consideration the age category) ownership of audio submitted, the for late, lost or delayed entries or network, and creative responses to the brief. Three Promoter (London Underground Limited) computer hardware or software failures winners, one for each age category, and and its partners will be granted free of any kind that may delay or restrict the overall winner will be chosen at the use of the audio entries as they decide. entry to the competition. sole opinion of the judges. Entries will be anonymous for judging purposes.

54 18. Winning audio works will be subject to the 22. Winners agree to take part in promotional 28. The Promoter reserves the right to cancel parent/guardian of the entrant consenting activities if required to do so. Where required the competition at any stage if it considers on the entrants’ behalf, to grant the the parent or guardian of the winner will such action necessary, or for reasons beyond Promoter, its employees, media partners, be asked to sign any necessary consents the Promoter’s reasonable control, and the and contractors an irrevocable, perpetual or permissions as part of this competition. Promoter will have no liability to the entrants licence to publish, exhibit, use, or copy the in respect of any such cancellation. audio entry in any press/marketing material, 23. The Promoter will not enter into any future press/marketing material mechanically communication or correspondence 29. Entry to the competition is free, however all or electronically on any media worldwide regarding individual entries. materials for the production and submission (including the internet) or as determined of audio work, in all forms, must be provided by the Promoter. 24 The Promoter will not be liable for any loss by the entrants. or damage, however caused, to any entries, 19. Entries must not offend or be likely and bears no responsibility for incomplete 30. The competition and these terms and to offend, depict or condone violence, or delayed entries. conditions shall be governed by and cause distress, or contain explicit construed according to English law or offensive language (e.g. swearing, 25. The Promoter reserves the right to refuse to racial discrimination, etc.). award prizes to anyone found to be in breach Privacy Notice of these terms and conditions and to select 20. Submission of an audio work is confirmation another winner. Transport for London (TfL), its subsidiaries that it is the entrants own original audio work and service providers, will use your personal and that it does not infringe the intellectual 26. The Promoter at its sole discretion may information for the purposes of administering property rights or copyright of a third party. contact any non-winning entrants using this competition, informing you if you the details on the entry form to request have won and if so, issuing your prize. 21. Winners will be notified by phone/email by permission and make the necessary If you have previously registered as a 12 April 2016. If a prize is not claimed within arrangements with the entrant for the customer with TfL we will also use this 72 hours of being notified, the Promoter original submitted audio entry to be played information to check that your existing reserves the right to determine a new at local London Underground stations. contact details are up to date. Your personal winner of that prize. The names and boroughs information will be properly safeguarded of winners will be posted on the website 27. The Promoter is London Underground and processed in accordance with by 1 July 2016. Limited of Windsor House, 42-50 Victoria the requirements of the Data Protection Street, London, SW1H 0TL. Act 1998.

55 56 Activity Resources

57 Design Work Leisure patterns

58 Design Work Leisure colour palette White CMYK 0/0/0/0 197U Pantone CMYK 0/45/10/0 158U Pantone CMYK 0/61/01/0 235U Pantone CMYK 5/100/0/40 RESTRICTED PALETTE Nanking Blue CMYK 100/20/0/37 Black U Pantone CMYK 0/0/0/100 116U Pantone CMYK 0/16/100/0 485U Pantone CMYK 0/95/100/0 356U Pantone CMYK 95/0/100/27 430U Pantone CMYK 5/0/0/45 — UNDERLINE SERIES ON— ART THE UNDERGROUND 2015 — JULY — GILES ROUND

59

PROJECT COMMISSIONER DATE ARTIST Design Work Leisure tile designs

60 Which Victoria line station is this? see activity on page 37

Spot these metal cut-out sculptures showing Here is an example of a busking station which can people from different periods in history. Which be found inside some of the stations. At which station did you find them outside? station(s) can you find one?

At which station can you find this living entrance/ exit made of plants?

At which station are these tiled pillars found?

This is the largest roundel on the whole Tube. At which entrance/exit is this original floor and Which station entrance is it found at? ceiling roundel found?

61 Match the Labyrinth, see activity on page 37

Your challenge is to match the 16 Victoria line labyrinths below with their station name. As you travel the Victoria Line tick off the labyrinths that you find, make a note of their individual number and write down the station name. Once home or back at school you can add in the design family, check the ‘design family’ sheet for the 11 different families to choose from.

TFL_WALLINGER_Mazes_BATCH3_AW.indd 7 31/01/2013 10:21 TFL_WALLINGER_Mazes_AW1.indd 6 26/11/2012 10:34 TFL_WALLINGER_Mazes_BATCH3_AW.indd 27 31/01/2013 10:21 TFL_WALLINGER_Mazes_BATCH3_AW.indd 49 31/01/2013 10:21

Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Design Family ...... Design Family ...... Design Family ...... Design Family ...... Station Name ...... Station Name ...... Station Name ...... Station Name ......

Did you know? Did you know? Did you know? Did you know? Outside this station there is a The name of this place is said to Nearby is Arsenal Football Club’s Adjacent to this station is a deep- fiberglass relief of a black stallion derive from the Old English wilcume famous old Highbury ground, which level aid-raid shelter, constructed by David McFall. Can you find it? and stow, collectively meaning is now an exclusive block of flats during the Second World War and ‘welcome to the holy place’. named Highbury Square. able to accommodate 1,600 people. In 1446 the area was recorded Its ground-level structure is now as Walthanstowe. decorated as a war memorial. The artist Vincent Van Gogh briefly lived in this area, when working as an apprentice to an art dealer. He left due to unrequited love! 62 Match the Labyrinth

Did you know there are 270 unique Labyrinth artworks, one for every station on the Tube network. Together they form Labyrinth, a major permanent artwork by leading British artist Mark Wallinger, commissioned by Art on the Underground to celebrate the 150th anniversary of London Underground in 2013. For more information and to download the free Teachers’ Packs visit http://art.tfl.gov.uk/labyrinth

TFL_WALLINGER_MAZES_BATCH6_AW.indd 47 03/05/2013 15:02 TFL_WALLINGER_Mazes_BATCH3_AW.indd 54 31/01/2013 10:21 TFL_WALLINGER_Mazes_BATCH3_AW.indd 44 31/01/2013 10:21

Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Design Family ...... Design Family ...... Design Family ...... Design Family ...... Station Name ...... Station Name ...... Station Name ...... Station Name ......

Did you know? Did you know? Did you know? Did you know? The station is named after one of Spot the M15 headquarters near This area was recorded in This station has a platform that the oldest of London’s Victorian this station. This area has a famous William the Conqueror’s Doomsday takes staff to the Northumberland parks, now used for large public history of arts and culture with book as Totenham, meaning Park depot, where the carriages events and concerts. London’s first the Pleasure Gardens that opened ‘Homestead’.platform. are cleaned, washed and generally hot-air balloon flight took place at before the 1660s – 1840, now maintained. the park this station is named after? the site of Spring Gardens. Walk across to the Piccadilly line to see 6 mosaic hot-air balloons on the platform.

63 Match the Labyrinth

TFL_WALLINGER_MAZES_BATCH6_AW.indd 9 03/05/2013 15:01 TFL_WALLINGER_Mazes_AW1.indd 2 26/11/2012 10:33 TFL_WALLINGER_Mazes_BATCH3_AW.indd 57 31/01/2013 10:21 TFL_WALLINGER_MAZES_BATCH6_AW.indd 35 03/05/2013 15:02

Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Design Family ...... Design Family ...... Design Family ...... Design Family ...... Station Name ...... Station Name ...... Station Name ...... Station Name ......

Did you know? Did you know? Did you know? Did you know? This station has the largest roundel This station opened in 1900 and Can you solve the puzzle created by Tate Britain is very close by to this on the whole of the London was named after the world-famous Alan Fletcher (1931-2006) with his station. Find the tiles at the entrance Underground. Where is it? Oxford Street where William Morris design partners Croby and Cross at referencing examples of some of the opened his Morris & Co shop this station? Fletcher was one of the artists and their work (e.g. Turner, Pop star David Bowie was born in 1877. most influential figures in post-war Lowry) that you will be able to see in this area. British graphic design. Time how in the gallery. The blue treads on the stairs at this many minutes it takes you to solve. station are based on the original Time how many minutes there are Winston Churchill lived in this area, designs. between each Tube train. as did designer Laura Ashley.

64 Match the Labyrinth

TFL_WALLINGER_Mazes_AW1.indd 9 26/11/2012 10:34 TFL_WALLINGER_Mazes_BATCH3_AW.indd 20 31/01/2013 10:21 TFL_WALLINGER_Mazes_BATCH3_AW.indd 56 31/01/2013 10:21 TFL_WALLINGER_Mazes_AW1.indd 10 26/11/2012 10:34

Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Labyrinth Number ...... Design Family ...... Design Family ...... Design Family ...... Design Family ...... Station Name ...... Station Name ...... Station Name ...... Station Name ......

Did you know? Did you know? Did you know? Did you know? Find the beautiful roof of St Pancras This station opened in 1907 and was Spot the old railway map from Fill up your water bottles at the International station near this Tube designed by Leslie Green with his London, Brighton and South Coast Diana fountain found outside station. If you wander outside, look characteristic oxblood tiled facade. railway. Original tiles surround it. the living green wall entrance/exit. out for a nose affixed to a wall outside St Pancras Chambers. It’s Sit on the base of the sculpture Victoria station is named after Find Sea Strata, a permanent artwork one of The London Noses – an art called ‘Piscator’ (1980) by Eduardo nearby Victoria Street. by John Maine. It is made from installation made by Rick Buckley Paolozzi that is found outside Portland stone and granite. in 1997 consisting of replicas the station. of the artist’s nose attached to famous buildings around London.

65 Labyrinth Design Families

Mark Wallinger has produced 270 unique artworks, each belonging to one of the ‘design families’ shown below. The artworks have been conceived so that no two artworks bear the same path.

Medieval Cretan Native American Turf Opposed Chamfered

Organic Woodcut Emboss East Square

66 Character Profile, see activity on page 27

Character name: Nickname if used: Male or female: Age:

Marital status: Other important family: Nationality: Job:

Hobbies:

Physical appearance:

Physical characteristics, e.g. walks with a stick, squint etc.

How does their voice/accent sound, e.g. Scottish accent?

Any habits, e.g. biting nails, fidgeting, catch phrases?

What is your character wearing?

What are their dreams for the future?

67 Investigative Geography Project, see activity on page 33

1. Why was the Victoria line built?

2. How many other Tube lines cross under the River Thames?

3. Why did they choose to put the Victoria line stations where they did?

4. What tunnelling methods did they use? And why?

5. What difference does the soil type make when building a tunnel?

6. Research what the area is like above the stations.

7. Population – what is the current population of London?

8. Data/Numeracy – investigate and give a diagrammatic representation of the amount/volume of people using each of the 16 Victoria line stations. Which station is used the most/least? Give reasons why.

68 69 70