“a well-meaning doff of a roundel-sized hat”*

Daniel Wright wrote at The Beauty of Transport on 9.10.13:

“Green was strongly influenced by Art Nouveau and the Arts and Crafts movement. He studied in Paris at the end of the 1800s, at a time when whiplash curve-style Art Nouveau was at its zenith. As such, he probably kept an eye on what was happening over there, and it’s possible to detect some influences from Guimard’s famous Paris Métro entrances (installed from 1900 onwards) in Green’s work…

Have a look at the cartouches decorating the outside of Green’s stations at first floor level, and you’ll find clear echoes of the floral cartouches on Guimard’s Metro entrances…

Green’s incredibly strong graphic identity for his stations was both a boon to UERL, embedding it firmly in the public consciousness, and then later on, a problem. As UERL subsequently developed the word UNDERGROUND (with larger first and last letters) as a name and corporate identity, it proved quite difficult to incorporate it into Green’s designs. It doesn’t sit comfortably in Green’s Art Nouveau milieu, as you can see here…”

From: *150 great things about the Underground (4.11.13):

“There are several of these sprinkled around London, but the one at Russell Square is particularly well-preserved and prominent. Embedded in Leslie Green’s stubbornly perfunctory and visually peakish (having features that seem thin and sharp) facade, the logo radiates freshness and imagination like sunlight sneaking through a crack in the Berlin Wall. An interloper from the drawing board of a visionary rather than a functionary, it can’t help but catch and retain the eye.”

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