Liverpool Street station in London: The ceiling and upper walls show the perforated GRC cladding which is typical for the minimal design of the Elizabeth line.
Design in public transportation is so fascinating because it can shine a light on a variety of issues in current public discourse: Usually deployed in large-scale projects, design choices often reflect careful consideration of the Zeitgeist, public norms of aesthetics, changes in transportation infrastructure and avant-gardist glimpses or concepts of what an imagined general public space might look like.
<span class="firstcharacter">G</span>reat design in the sphere of public transportation makes you feel comfortable, lets you forget about the rather confined spaces you are mostly in and steers you in a way that supports the unhindered flow of movement or traffic. It’s not only about the speed of the bus or the amount of people being carried on a train. It’s also about offering new spaces on vehicles to work, relax, eat and interact with others,[1] and about providing crucial and easy-to-understand information when you need it.
When I travel through Berlin or through Germany, there are digital solutions I can use to keep me informed about the latest traffic data, e.g. when trains are delayed. But while there are a few fairly dependable major apps, due to federalism, the system as a whole still suffers from fragmentation: There is a plethora of ticketing platforms and reliability issues when it comes to providing information. As a passenger or even as an operator you don’t want to have to deal with dozens of ticket options and layers of software applications to keep you in the loop and in control. Luckily things are moving towards a more integrated information design. More unified systems have been implemented in Austria and parts of Berlin[2] but also in cities like Prague, Hong Kong and Cape Town (see below). And the success of the 2022-established nationwide »Deutschlandticket« (Germany ticket) shows the importance of a simplified user experience combined with affordability.
Practical and iconic pattern: The »Würmchenmuster« in Berlin
Of course, you want to get from A to B as fast as possible and besides technical speed advancements there are design approaches which make the ride seem shorter.
Subjectively, sitting on natural materials gives you the idea that time might be passing more quickly than sitting on metal chairs or standing upright.
This changes the perception of time in a positive manner.[3]
From practical to marketing device
But the importance of such aspects in public transportation had been neglected for a long time. Recently, since societal norms changed and the value of product identification and corporate identity also seems to have taken hold in public transportation organizations, the focus on design aspects in public transportation increased as well.
One example is the discussion revolving around seat covers in Berlin’s U-Bahn (short for Untergrundbahn meaning subway). The controversial but now iconic »Würmchen« pattern (little worm), which was originally designed for West Berlin’s S-Bahn (short for Stadtbahn or Schnellbahn, meaning city train or quick train). The original designer Herbert Lindiger explained that the design was not only meant to be visually appealing but also durable, cost-effective, and resistant to vandalism.
The intricate pattern makes it difficult for vandals to deface the seats, as it disrupts clear figure-ground perception. He summarized that until recently, focusing on the design of seat covers was seen as »proletarian and unrefined« but that the view had changed.[4] The pattern, also called »Urban Jungle«, was popularized by the BVG (one of the two major public transport organizations of Berlin): In addition to applying it to the seat covers of their subway trains or buses, they also sold souvenir articles such as neckties, swimming trunks, gym bags or sneakers featuring the design.
This caused a lawsuit between the organization and the designer which was settled in 2022. While officially, the BVG can still use the iconic pattern they are looking to replace it with the new »Muster der Vielfalt« (pattern of diversity) which seems to be awfully similar to the old design.
Instead of »little worms« it features a variety of silhouettes of people in bright and contrasting colours which, in my opinion, are quite a bit harder on the eyes than the original pattern.[5, 6] Although I don’t fancy the old pattern much, my first thought upon seeing the new pattern was: »I don’t want to be sitting in that bright subway light staring at this pattern when coming home in the middle of the night.« Then again, design choices are often a subject of controversy.
I like Lindiger’s appeal to changing the public’s view of a separated world between public and private property. Whereas privately, a lot of people put great thought into their home furniture and overall aesthetics public property is seen as expendable and belonging »to the state«. Lindiger argued that an emotional change of perception is needed so that people start seeing such objects as part of the common property they paid for, even if indirectly through taxes.[4]
Creating a whole line: The Elizabeth line in London
One gigantic project which involved a lot of interior design changes and – to my mind – great upgrades (compared to existing lines) was the creation of the Elizabeth line of the London metropolitan area.
The £18.8 billion heavy infrastructure project called »Crossrail« was the biggest of its kind in the UK, and decades in the making (including several delays and budget adjustments) and focused on modernizing and expanding the existing track network by using a more modern design language, overhauling 31 stations and creating ten new ones. It is said to have increased London’s rail capacity by 10%.[7, 8, 9]
A unified design language makes the line easily recognizable
Nine different architecture studios were tasked with designing the stations while adhering to a line-wide consistent design language.
The focus is clearly on a more orderly, clean, sometimes sterile to serene look with GRC cladding (Glass Reinforced Concrete), constituting the most prominent visual element covering the tunnels between the platforms and stations. They are part of a »longevity« approach aiming to have the core structures used for the next decades.[9, 10, 11]
Personally, I’m not a huge fan of the perforated panels with their circular holes and think once the concrete starts accumulating dirt from dust and spider webs they will lose their fresh look quickly.
But compared to the smoother more high-tech-looking panels, the perforated ones also serve acoustic control functions since they scatter noise and have acoustic mats located behind them. The curved lines do provide a more soothing look which gets complemented by a light grey to greyish colour scheme. The noise level also got reduced by the use of platform screen doors which separate the noise from the incoming trains from the waiting passengers and thereby also improve air quality. One design flaw that I came across was the lack of backrests on platform seats which quickly resulted in the tunnel walls behind them accumulating grime.
Intelligent lighting design for comfort and navigation
To improve the movement experience in tunnels, the lighting design, which was implemented across eight underground stations, one surface station, and five portals, uses cool white (5,000 K) lighting for transition spaces and warm white (3,000 K) for wayfinding spaces.
Mostly indirect lighting gets combined with ambient and accent lighting to be easier on the passengers’ eyes, to provide visual cues, avoid shadows and make the overall area appear more spacious.
In general, people tend to enjoy spending more time in lighter than in darker spaces.[12] A prominent aspect is also vertical illuminance since research indicates that the human visual system tends to focus on vertical surfaces more frequently for spatial orientation.[13] Some such lights facing towards the ceiling are housed in the so-called service »totems« which are basically tech- and orientation-columns. They feature shorter life technology just like the platform edge screens.[14]
A stronger focus on sustainability and accessibility
I also like the more low-tech approach within the project’s ventilation concept – the focus was clearly on creating a more sustainable infrastructure: The MEP (mechanical, electrical and plumbing) strategy focuses on being less power consuming and thus lower on emissions, e.g. using a more passive cooling solution which makes use of the naturally cool London air to provide 75% of its cooling per year. The electrical chillers only turn on when temperatures are above a certain threshold.[15] This idea of sustainability is also reflected in the technical design of the 70 new trains.
The trains combine smart lighting and climate control with regenerative braking – which recaptures energy during deceleration to recharge batteries – to boost energy efficiency by up to 30% compared to typical Underground models.
At the same time, they are wider and lighter and are accessible for wheelchair users while being fully air-conditioned, unlike older trains. Even though there are long walk-in distances, the more inclusive and accessible design is also reflected in a step-free access from street level to the platforms in most stations.[16, 17, 18]
An integrated local heritage
The design approach also features an idea of »localness« which is supposed to reflect the environment and heritage of each local area in the new stations’ composition: The closer to the central stations you get the more prevalent the »Elizabeth line« design will become.[19, 20]
Examples of the representation of localness can be seen at Woolwich station whose design thoughtfully incorporates elements that honour the area's rich military heritage and architectural character from regimental motifs on the concourse pillars over the bronze-clad entrance portal to the station’s brick-built structure.[21, 22]
Another station, Abbey Wood, incorporates a wide and welcoming entrance under a timber beam roof in its manta ray-shaped building. The curved and laminated larch beams are representative of the wood-crafting heritage of nearby natural woodland area Lesnes Abbey Woods and the legacy of the renowned 19th-century designer, poet and social activist William Morris in Bexley.[23, 24]
On the onset of sustainability and full of art: The MyCiTi bus network in Cape Town
Cape Town’s public transport system has a troubled history: While spearheading the global electric tram movement in the late 19th century alongside major cities like Berlin, London and New York, the electric tram movement has basically died in the city. The general train system of South Africa has also faced a significant decline due to a lack of investment, vandalism and corruption.[25, 26, 27, 28] Due to its heavy reliance on private motor vehicles Cape Town still counts as one of the most congested cities worldwide.
That’s why, around 20 years ago, Cape Town’s local government realized the need to act and to tap into the potential of a higher-quality public transportation network.
It has since created a well-connected and largely successful system of bus stations, vehicles and dedicated bus lanes under the MyCiTi label although the system is far from completion.[29, 30] First introduced for the 2010 Fifa World Cup, the current larger buses seem to show their age and quite some wear and tear. The complementary smaller shuttles contain more modern features and enable users to use the digital ticket system, which works also in congruence with other service providers.[31, 32]
Sustainability soon to come
Even though South Africa had already gained experiences with forward-looking electric vehicles, e.g. in Johannesburg, it took more than a century for the idea to gain traction again, after the first electric trams started operating. After a failed attempt to introduce electric buses of the Chinese manufacturer BYD due to performance issues the plan is to finally have 77 electric vehicles integrated into the fleet by 2027. The other major bus operator in Cape Town, Golden Arrow Bus Services, has already begun the rollout of their electrification plan which is supposed to include 150 EVs (electric vehicles) from BYD and numerous charging stations around the city.[33, 34]
The sustainability focus in South African Department of Transport’s Green Transport Strategy (2018 – 2050)[35] requires a different design approach than traditional transportation networks relying solely on fossil fuels. In addition to already providing an integrated ticketing system, it expresses the need for a resilient electricity grid, charging infrastructure and EV fleet and clean energy production (e.g. through solar and wind) which are already partially implemented. It remains to be seen how the idea of including more non-motorized transport such as walking and cycling will take shape.[36, 37]
Moreover, an innovative traffic flow approach was implemented due to space constraints in the Milnerton area. The 1.7 km stretch of MyCiTi red road between Loxton and Broad Roads has been converted into a more flexible bus lane:
The lane is reversible, operating towards Cape Town's CBD during the morning peak, closing for a midday break, and then reopening for buses traveling away from the city during the afternoon peak until midnight to optimize traffic flow. The system uses traffic signal controllers and AI-powered thermal cameras to ensure only authorized vehicles use the bus lane, and drivers are trained to follow signs.
Art in the system
One of the most striking design choices that stands out is the integration of 50 artworks which were created to reflect the local cultural heritage and specifics of the corresponding areas around the bus stations. The artworks include large-scale murals, ornament-laden benches, sculptures, and a mix of graffiti and graphic design paintings on walls and station screens. The project employed established and emerging artists from various genres to promote local art traditions and make them available to the general public for educational purposes and as inspiration:
For instance: At Gardens station, the art concept focuses on the theme of the wild garden of the Table Mountain National Park, with mosaic and mural artworks created to reflect the local natural environment. At Janssens station, sculptures of waiting passengers by Strijdom van der Merwe are featured, offering a conceptual connection to the idea of travel, rest and movement.
Other works concentrate on the country’s difficult past, especially local segregation and apartheid practices like the one at Woodstock station which captures the overall change in demographics. Another work, which highlights the changing face of the city, was partially born out of practicability since the station’s design (Civic Centre station) was a result of a protective measure to cope with a fierce wind tunnel on reclaimed land in the Foreshore area.[38, 39]
Overall, the demand for affordable and safe public transport has spiked in Cape Town, exceeding expectations and capacities – another success story of a well-designed public transportation system with budget constraints.
<span class="headingcolor" style="display: block; text-align: center;">Thanks for your attention!</span>
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