A Satisfactory Conclusion

 

After 32.5 years, tma is no longer taking on new projects.

It’s been a great journey, doing fine work with good people, making a difference to our infrastructure, learning a huge amount, adding what we can to improve the lot of us all, and enjoying every moment of it.

Over the years we have had enviable opportunities to assist the perception and function of our public transport, while many of the emerging projects we have been supporting in recent times will come to fruition in the years that follow.

We have been privileged to work with clients and fellow designers that are true enthusiasts, that are not simply there to get a job done, but have lived and loved the challenges and opportunities that these projects afford.

We have learned a huge amount from these men and women, from their technical innovation, from their joy in the benefits their work brings, and from the context of mutual respect that is exhibited throughout the sector.

Perhaps most importantly, we have had the opportunity to introduce new men and women to a broad range of design skills, and we have been able to sprinkle exciting talent throughout the industry, with tma alumni in high positions and high demand across a range of transport design organisations.

And so, as we bring our current and emerging commitments to a satisfactory conclusion, we wish the industry all the best for the future.

 

Tony Meadows

 

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The Mudlarking Platform – Cooling Bank on the Bank

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In the interstitial yards described by the wax and wane of land and water lies opportunity and tradition undiscovered and explored with infrequency.

It is the province of the Mudlark, that distinctly London character, the fundamental exponent of the City’s opportunism and inquisitiveness.

Swan Lane pier is gone, transport infrastructure of times past abandoned and removed to make way for new potential at this historic shoreline.

Mudlarking slides-3

Nearby, at Bank station, a more recent transport infrastructure that knits our city is being modernised and expanded.

In time-honoured fashion, the Mudlark Platform extracts a marginal benefit from these changes in our City.

Lying just below the water’s surface at high tide, the platform awaits the revolution of the firmament while dispelling the heat of the Underground.

Concealed when the tide is high, as time allows so the facility emerges, the Platform dried by the heat of the platforms, the sealed door opened to welcome the inquisitive and assist their passage to the undiscovered remnants of the City’s past.

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Bond Street Station Refashioned

In the run up to the opening of the Elizabeth Line, (Crossrail), Bond Street station has undergone some substantial upgrades to relieve congestion and provide step free access.  A new entrance has opened on the north side of Oxford Street at Marylebone Lane.

Bond Street Upgrade CrossRail 2018b

It was while we were developing the new Crossrail station at Bond Street that London Underground asked us to develop the expansion proposals for the LU station, ready to receive the influx of new passengers that Crossrail and the emerging plans for Oxford Street would bring.

There was an amusing reversal of roles as we took over the lead design role and Mott Macdonald, the lead on the Crossrail station, slipped in under our contract for the project next door.  We also brought in London Bridge Associates who lived in our office for a few months, as we progressed our joint construction and passenger planning exercises to come up with the practical, functional and economic arrangement that we have become expert in.

Bond Street Upgrade CrossRail 2018b3

That was 2006 and now, 12 years later (why do so many of our transport projects take 12 years to be realised?) a Costain/Laing O’Rourke jv has just completed the project, with Laing O’Rourke’s Steve Nuttall, our colleague from Thameslink days, as the director in charge.

We are of course delighted to see that yet again, despite all the construction planning, assessments and adjustments in the intervening years, the result is much as we set it out all those years ago.

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New Associates

New Associates

TMA is pleased to announce our two new Associates:  Samantha Dean and Luisa Vicente Martinez.

Samantha, finalist in the Women in Construction and Engineering Awards 2017, has been with TMA for ten years.  Currently leading the design for Elephant and Castle Station for the Atkins Bakerloo Line Extension, as well as working on Farringdon Station and running TMA Bid submissions.  Past projects worked on include outer stations on Crossrail, Walbrook at Bank, due to open this year, and Greenford Station’s Inclined lift.  samantha.dean@tma.uk.com

Luisa has been at TMA since 2008 and controls practice design quality and continuity.  She led the design for TMA’s Tokyo Metro competition entry which won an award for Design Excellence, and is currently working on the designs for a brand new station for Winsor Link Railway.  Past projects include work on Lewisham Station, West Brompton and step-free access for Hanwell Station.
luisa.vicentemartinez@tma.uk.com

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Collaboration as the Modern Craft

Collaboration is ever more necessary to overcome the challenges that an architect faces in the modern world. Laura Esperidón Parres, TMA alumni and now teacher of Arts & Crafts at Colegio de Fomento Altozano, Alicante, is continuing to nurture the craft of collaboration amongst the next generation of designers.

 
The aim of her course is for students to work together to gain a better understanding of architecture through an examination of some of the finer historical examples. 20th Century masters – such as Le Corbusier, Mies van der Rohe and Frank Lloyd Wright – are studied and the students come together to discuss and create architectural models of their buildings that are then presented to and critiqued by esteemed professors of architecture from the University of Alicante.

Alicante school Blog Images

Left: Mirador, designed by MVRDV
Right: Leon Auditorium, designed by Mansilla and Tuñón

Alongside her explanations of the collaborative nature of an architect’s work, Laura also teaches that many of the 20thC architects did anything but collaborate, and that this independence of spirit lay behind some of our more exalted architectural heritage. It is told that tensions were stirred when Frank Lloyd Wright’s patron invited engineers to determine the structural stability of Fallingwater, and that Wright cemented their reports into the very walls of the building in his partnering kind of way. How to marry these two apparently opposing approaches is left to the students to contemplate.

 
What is clear is that while the 20thC architects could enjoy the luxury of architecture as a personal craft supported by wealthy patrons, the metrics of today’s architecture are often far more complex. The craft of the present day architect is in managing the complexity of today’s building technologies, funding structures and approvals processes, with collaboration between a broadly defined and closely integrated client/design team being more essential than ever.

 
Laura’s encouragement of the next generation to initiate, embrace and craft this essential requirement is an important first step and predicts a strong foundation for the future.

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Clarity and Abstraction

There is a widely held principle in the design of stations in London that a common theme and a clarity of purpose will provide comfort through continuity and will exemplify the brand of good public service. And there is much to be said for it. The common London Underground signage, from colour to typeface, is a much-loved classic, held up by owners and design scholars alike and appreciated by the many. British Rail had a similar standard that has largely sustained through the various manifestations of its ownership. A considerable number of consultant hours are spent each year redefining the subject, setting the rules for materials, colour and lighting in well-designed guidance documents replete with photographs of samples and architectural sketches.

Oddly however, for a system who’s primary role is to take you places, it is rare that the design of our stations reflects the place in which they sit. It is the character of the line that is important, rather than the character of the place you have come to see. And when you are in tunnel, with no connection to the outside, would that not be a distinct advantage in your wayfinding armoury?

And so it was refreshing and encouraging when Tokyo Metro set exactly that challenge – to integrate the character and qualities of the station setting with the continuity of the brand. And intriguingly they asked for the design to be described, not by the designer, but through the story of the people using the stations, through their ambition, their experience and their emotions.

So, in the deep level boxes of Aoyama-itchome, Gaiemme and Omotesando stations, we did this, and received the Excellent Design Award:

Clarity and Abstraction1

Clarity and Abstraction2

Clarity and Abstraction3

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Order and Form

Order and Form Images1

Needless to say, presenting to Tokyo Metro and being rewarded with the Excellent Design Prize was the purpose and highlight of our travels to Japan, but that’s not to say TMA didn’t take the opportunity to explore the simplicity of the architecture, the complexity of the urban realm and the quietly effective transport systems.  More of which in later posts.

Order and Form Images2

For this one we wish to draw attention to the fascination with order and form, to the delicate and controlled manner in which information is recorded and expressed, the calm visual grid, the continuity of message, the subtlety of change in repetition. It is a theme that is as true in the traditional as it is in the modern.

Order and Form Images3

And then there is the ticketing.

Order and Form Images4

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