goodrichard.com

No worker’s desk is complete without an anglepoise lamp, and few realise that this icon of light was designed by a British car designer. George Carwardine created the anglepoise in 1932, when he was working on suspension systems; the lamp can be adjusted into a range of positions and remain stationary and self supported without the need for clamps.

With a patent granted and manufacturing under way, Carwardine evolved the four-spring design into other uses, such as a support for microphones. Still in use today, the original lamp was intended for use in working environments, but quickly found a place in homes the world over. Extensive copying and a timeless design more than helped the anglepoise lamp gain its popularity.

Did you know?
Contrary to popular belief, Carwardine’s original anglepoise design is not related nor based on the concept of human limb movement.

London Underground employee Harry Beck’s easy to understand and world famous 1931 schematically designed map for the Capital’s rapid below-street rail system was based on an electrical wiring diagram. The basic topographical concept of Beck’s original design has influenced other underground network maps around the world.

Tentatively introduced to the travelling public in 1933, Beck’s map was a spare time and non-commissioned project which soon became popular. Beck continued to slowly evolve the map until 1960, and even today, the modern version enjoys a strong resemblance to the original. Cited a design classic, the design is usually not permitted to be altered for any purpose.

Did you know?
There are eight versions in total of the London Underground map, including High Frequency Services (the more frequent lines are highlighted), Bicycle, and web-based Real Time Disruption variants.

The oldest icon depicted on the Royal Mail British Design Classics stamps is Sir Giles Gilbert Scott’s K2 telephone kiosk, dates from 1926. An unmistakable sight on the streets of the UK, the red telephone box came about as a result of a 1924 competition to design a kiosk that would be acceptable to the London Metropolitan Boroughs which had resisted efforts from the Post Office to put up older K1 kiosks on their streets.

Entries from respected architects, the Post Office, and The Birmingham Civic Society were all considered, with Gilbert Scott’s design being triumphant. A trustee of the Sir John Soane’s Museum, Gilbert Scott had topped his design with a dome similar to Soane’s self-designed mausoleum, and had suggested that the K2 was painted silver. The Post Office painted the cast iron design red, and its place in British culture was assured.

Did you know?
The red paint finish was chosen to make the K2 easy to spot, and the kiosk also appeared on the streets of British principalities Gibraltar and Malta.