102 CROSSRAIL


lot of commonality in appearance as you get close to the train. So the walls are spray concrete in the passenger tunnels and the cladding panels are from the same moulds. Tis consistency and familiarity is important to help make the experience more stress-free and enjoyable for the passengers.’ Tis need to make it as calm and straightforward for the passenger is woven into Grimshaw’s brief. McClements talks of how important it is to get the wayfinding right and he mentions the ‘moments of calm’ one can enjoy on the escalators and so be receptive to adjacent but subtle digital advertising.


With passage walls kept otherwise clear of ads, another anticipated pool of calm will be in front of the all-important 4m-high platform edge screens that are a fuller, more high tech- version of what already exists at some Jubilee Line stations. But the Elizabeth Line screens integrate several service elements such as ventilation, low-voltage LED lighting, CCTV, speakers and some advertising in digital display form.


Te screens also include a ventilation duct and protect against both train noise and brake dust that can be quite an issue on the tube. None of the design is by chance. It has been researched, tested and double tested in a ‘stage set’ in a hangar in Leighton Buzzard. Tese mock-ups have represented various Elizabeth Line stations.


Right Members of the public explore Farringdon Station as part of the 2018 Year of Engineering open day


Below Everything from platforms and passenger tunnels are twice the size of their tube equivalents


According to architect and associate principal at Grimshaw, Jorrin ten Have: ‘Te set allowed people to stand in the space and experience the scale of what it all meant. Once something was confirmed, a period of prototypes were developed during which we got everyone’s comments. But the protoypes allowed us to test materials and do basics like see how easy it was to attach or remove tunnel wall panels for maintenance.’


He says: ‘One of the biggest challenges was the fact that everything from platforms to the passenger tunnels are twice the size of their London Underground equivalents. And because of the sheer scale, we had to ensure that the exits to the east and west tickets halls were very clear. Otherwise, passengers could


end up walking in the wrong direction for a long way. Spatially, we tried to shrink-wrap everything so that, for instance, the tunnels curve gradually and you have a flowing geometry. We also reduced any visual clutter and consolidated everything into the totems. Tese include speakers, signposts, uplights and even CCTV and power sockets. Tese are all grouped together so that the wall space remains clear and calm.’ On advertising, he says: ‘It took a lot of convincing to persuade TfL that advertising should be only at certain points like alongside the escalators and on the platform edge screens but once they had their advertisers on board with the idea, they loved the concept of dynamic, lively, linear bands of digital ads.’


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