What would London's tube map sound like? One composer decided to find out

The double-bass part from “London, he felt fairly certain, had always been London". Image: Ewan Campbell.

I'm not saying CityMetric is obsessed with tube maps. I'm just saying that, if you did a Venn diagram of regular readers, and people who own a well-thumbed copy of Mark Ovenden's excellent “Metro Maps of The World,” there'd be more overlap than the Circle and District lines.

But here's a question that's not yet been answered by either that book or this site: what would the tube map sound like?

Composer Ewan Campbell decided to find out: teaming up with contemporary music ensemble The Hermes Experiment, he’s used the distinctive map as a way to create a piece of music based on Harry Beck's iconic diagram. “London, he felt fairly certain, had always been London” – yes, the title is a 1984 reference – had its world première at the Cockpit Theatre in Marylebone on Tuesday.

“Writing map scores is something I've been exploring for a little while,” composer Campbell tells me. His previous effort, “The Following,” took the players on a journey across an American grid-style city layout.

This one takes the audience on the tube – with some minor tweaks. “My version of Zone 1 doesn't have any dead ends,” he confesses, having joined up Vauxhall and Waterloo, to make the transitions from one musical snippet to the next easier.

The way it works is simple. Each musician has a tube map in front of them, with notes instead of the station names. Each station is a musical fragment of between two and 20 seconds, which should more or less work with all the other pieces. (Everything is in a slightly altered Phrygian mode of F, since you asked.)

The Hermes Experiment has a double bass, clarinet, harp and soprano, so the resulting music sounds weird but beautiful (much like taking the Metropolitan Line all the way to the end). Each performer goes on their own journey, listening to each other to make the piece work. They can only go to adjacent stations, and play what they find there. So, as Campbell explains, “the music is written, but the piece is improvised.”

 

An extract from the Soprano part. Image: Ewan Campbell.

The musicians decided to start at King's Cross for their performance, and followed Campbell's instruction to “race around as quickly as you can. The Piccadilly Line has a long, slow melody for the double bass; the harp has a series of wide chords along the Bakerloo Line; and the clarinet blasts out multiphonics on the Northern.

To make the whole thing even more of a London soup, the singer's stations consist of extracts from poems and songs about the capital. As well as getting recommendations from friends, the composer used Poetry Atlas to match extracts to places. (Anyone looking to be productive at work should avoid this website, which literally puts poetry on the map: by clicking on pins, you can see which poems mention your corner of London, or even the world beyond).


The final piece includes Wordsworth’s sunrise reverie on Westminster Bridge; D.H. Lawrence’s outcasts sleeping under a bridge; and several extracts from poems by Will Hatchett. In terms of prose, there's Charles Dickens at Charing Cross, bits of Virginia Woolf, and Samuel Pepys’ diary about the great fire in 1666.

Héloïse Werner, who sung her way round London Bridge, and mainly stayed south of the river on the night, said it had been great fun working on the piece. “In the first rehearsal, we started at Bank, and said we'd meet at Marylebone in ten minutes,” she recalls. “Now, when we walk around the city we hear pitch and noise everywhere.”

London, he felt fairly certain, had always been London,” wasn't the only transport-related piece in the programme. The audience also heard a work in progress about your correspondent's favourite high-speed rail link: “Eurostar, Velaro” by Stevie Wishart is based on the sounds of the train going between London and Brussels, complete with a soprano making “choo choo” noises, and a bass clarinet with paper attached with bulldog clips (bizarrely, it sounds just like the tremble of catenary wires). 

London fans also got to hear a piece by Jethro Cooke which involved the ensemble playing over ambient sound recordings of the city – including everything from the creaking lifting mechanism of Tower Bridge to the sound of dropping large objects in car parks and tunnels. I'll never hear the city the same way again.

 
 
 
 

Green roofs improve cities – so why don’t all buildings have them?

The green roof at the Kennedy Centre, Washington DC. Image: Getty.

Rooftops covered with grass, vegetable gardens and lush foliage are now a common sight in many cities around the world. More and more private companies and city authorities are investing in green roofs, drawn to their wide-ranging benefits which include savings on energy costs, mitigating the risk from floods, creating habitats for urban wildlife, tackling air pollution and urban heat and even producing food.

A recent report in the UK suggested that the green roof market there is expanding at a rate of 17 per cent each year. The world’s largest rooftop farm will open in Paris in 2020, superseding similar schemes in New York City and Chicago. Stuttgart, in Germany, is thought of as “the green roof capital of Europe”, while Singapore is even installing green roofs on buses.

These increasingly radical urban designs can help cities adapt to the monumental challenges they face, such as access to resources and a lack of green space due to development. But buy-in from city authorities, businesses and other institutions is crucial to ensuring their success – as is research investigating different options to suit the variety of rooftop spaces found in cities.

A growing trend

The UK is relatively new to developing green roofs, and governments and institutions are playing a major role in spreading the practice. London is home to much of the UK’s green roof market, mainly due to forward-thinking policies such as the 2008 London Plan, which paved the way to more than double the area of green roofs in the capital.

Although London has led the way, there are now “living labs” at the Universities of Sheffield and Salford which are helping to establish the precedent elsewhere. The IGNITION project – led by the Greater Manchester Combined Authority – involves the development of a living lab at the University of Salford, with the aim of uncovering ways to convince developers and investors to adopt green roofs.

Ongoing research is showcasing how green roofs can integrate with living walls and sustainable drainage systems on the ground, such as street trees, to better manage water and make the built environment more sustainable.

Research is also demonstrating the social value of green roofs. Doctors are increasingly prescribing time spent gardening outdoors for patients dealiong with anxiety and depression. And research has found that access to even the most basic green spaces can provide a better quality of life for dementia sufferers and help prevent obesity.

An edible roof at Fenway Park, stadium of the Boston Red Sox. Image: Michael Hardman/author provided.

In North America, green roofs have become mainstream, with a wide array of expansive, accessible and food-producing roofs installed in buildings. Again, city leaders and authorities have helped push the movement forward – only recently, San Francisco created a policy requiring new buildings to have green roofs. Toronto has policies dating from the 1990s, encouraging the development of urban farms on rooftops.

These countries also benefit from having newer buildings, which make it easier to install green roofs. Being able to store and distribute water right across the rooftop is crucial to maintaining the plants on any green roof – especially on “edible roofs” which farm fruit and vegetables. And it’s much easier to create this capacity in newer buildings, which can typically hold greater weight, than retro-fit old ones. Having a stronger roof also makes it easier to grow a greater variety of plants, since the soil can be deeper.


The new normal?

For green roofs to become the norm for new developments, there needs to be buy-in from public authorities and private actors. Those responsible for maintaining buildings may have to acquire new skills, such as landscaping, and in some cases volunteers may be needed to help out. Other considerations include installing drainage paths, meeting health and safety requirements and perhaps allowing access for the public, as well as planning restrictions and disruption from regular ativities in and around the buildings during installation.

To convince investors and developers that installing green roofs is worthwhile, economic arguments are still the most important. The term “natural capital” has been developed to explain the economic value of nature; for example, measuring the money saved by installing natural solutions to protect against flood damage, adapt to climate change or help people lead healthier and happier lives.

As the expertise about green roofs grows, official standards have been developed to ensure that they are designed, built and maintained properly, and function well. Improvements in the science and technology underpinning green roof development have also led to new variations on the concept.

For example, “blue roofs” increase the capacity of buildings to hold water over longer periods of time, rather than drain away quickly – crucial in times of heavier rainfall. There are also combinations of green roofs with solar panels, and “brown roofs” which are wilder in nature and maximise biodiversity.

If the trend continues, it could create new jobs and a more vibrant and sustainable local food economy – alongside many other benefits. There are still barriers to overcome, but the evidence so far indicates that green roofs have the potential to transform cities and help them function sustainably long into the future. The success stories need to be studied and replicated elsewhere, to make green, blue, brown and food-producing roofs the norm in cities around the world.

Michael Hardman, Senior Lecturer in Urban Geography, University of Salford and Nick Davies, Research Fellow, University of Salford.

This article is republished from The Conversation under a Creative Commons license. Read the original article.