Daniel Wright wrote at The Beauty of Transport on 9.10.13:
“(Leslie) Green’s ticket halls are just as distinctive as his station exteriors, and also feature extensive areas of tile cladding. But while the outside of his buildings are warm red, inside all is cool green with lots of Art Nouveau details. To enter a well-preserved Leslie Green ticket hall is to enter a lush jungle, exotic and slightly mysterious. How much more so it must have been to early twentieth century travellers. The dado rail friezes are the first thing to catch the eye. Green produced two designs, an acanthus leaf and a pomegranate (see image), both wearing their Arts and Crafts influence heavily on their sleeves. It’s as though Green has taken one of William Morris’s floral patterns, and rendered it in three dimensions. Below the dado rails, deep green base tiles shimmer.
The pomegranate, acanthus leaf and plain green tiles are the first examples of Green’s work now available as modern reproductions from Fired Earth, in its “Edwardian” collection. Just the job for a porch on an early twentieth century house, I would have thought.
Meanwhile, in Green’s typical ticket hall it is time to turn your gaze to the extraordinary ticket office windows…
(Historic England) “ticket windows in aedicular surrounds”
(Wikipedia) “In ancient Roman religion, an aedicula (plural aediculae) is a small shrine, and in classical architecture refers to a niche covered by a pediment or entablature supported by a pair of columns and typically framing a statue. Aediculae are also represented in art as a form of ornamentation. The word aedicula is the diminutive of the Latin aedes, a temple building or dwelling place. The Latin word has been Anglicised as “aedicule” and as “edicule”.”
…A dramatic pediment tops the window, while lettering is moulded into the tiles themselves. Although the “OUT” and “IN” are condensed, it’s the same typeface as can be seen on the exterior of Green’s stations. The overall shape of the window is also a design element which can be found repeated elsewhere in Green’s stations.
It’s one of Green’s claims to fame that he was the first to impose a comprehensive brand identity on tube stations in London. It’s not the one you associate with the Underground today, but he was the first to demonstrate that a unified appearance could be carried throughout the station. Tiling is used throughout for decoration, and signage and typefaces are distinctive and intentionally consistent. As such, he is one of the pioneers of transport brand identity.”