text:
Marble Arch tube station

Marble Arch is a London Underground station in the City of Westminster. It is on the Central line between Lancaster Gate and Bond Street stations, and is in Travelcard Zone 1.

History
The station was opened on 30 July 1900 by the Central London Railway (CLR).

Like all the original stations on the CLR, Marble Arch was served by lifts to the platforms but the station was reconstructed in the early 1930s to accommodate escalators. This saw the closure of the original station building, designed by the architect Harry Bell Measures, that was situated on the corner of Quebec Street and Oxford Street, and a replacement sub-surface ticket hall opened further to the west. The new arrangements came into use on 15 August 1932. The original surface building was later demolished.

The platforms, originally lined in plain white tiles, were refitted with decorative vitreous enamel panels in 1985. The panel graphics were designed by Annabel Grey.

The station was modernised in 2010, resulting in new finishes in all areas of the station, apart from the retention of many of the decorative enamel panels at platform level.

The station today
The station is named after the Marble Arch nearby and is located at the north east side of the Marble Arch junction, at the western end of Oxford Street.

There is a siding to the west of the station allowing trains from Epping, Hainault and Woodford to terminate here. It is not commonly used but it is still retained for emergencies and when engineering works take place.

Incidents
On 27 April 2018, a 90-year old man, Robert Malpas, was suddenly and without warning pushed onto the train tracks, suffering a broken pelvis and a head wound. A bystander rescued him from the tracks, and the perpetrator - who was unknown to Malpas - was later found guilty of attempted murder and jailed for life. The incident was captured on CCTV.

title: Marble Arch tube station


text:
Pimlico tube station

Pimlico is a London Underground station in Pimlico, City of Westminster, on the Victoria line between Victoria and Vauxhall stations in fare zone 1. It was a late addition to the Victoria line, not appearing in the original plans, and the last to open in 1972.

The station is the only one on the line without an interchange to any other railway line, and the deepest beneath sea level. It is the main transport access point for the Tate Britain gallery. The station is known for its distinctive artwork, which reflects its proximity to the Tate Britain. Several buildings surrounding the station are Grade II listed, though the station itself is not.

Location and name
The station is in London fare zone 1 at the junction of Bessborough Street and Rampayne Street. There are three entrances; entrance A with the ticket hall is on the east side of Rampayne Street, while exit C is on the west side of Bessborough Street. An additional exit, B is further along on Bessborough Street to the east of these two. There are two platforms; platform 1 serves trains northbound to Victoria while platform 2 serves trains southbound to Vauxhall. The platforms are around 22.5 m below ground.

The main entrance forms part of an eight-storey octagonal building, designed in 1976 by William Whitfield of Whitfield and Partners, and erected between 1980 and 1983. It was a speculative development by the Crown Commissioners, and consists of a concrete frame with a skin of red bricks, which is load-bearing. The building is an example of post-modernist architecture, and is Grade II listed in recognition of this, although the tube station is specifically excluded from the listing. Next to the station entrance is a sculptural ventilation shaft, designed and built between 1978 and 1982 by the artist Eduardo Paolozzi. The casting was produced by the Robert Taylor Foundry in Larbert, Scotland. This is also Grade II listed, and is part of the ventilation system for the basement of 2 Bessborough Street and 33 Vauxhall Bridge Road.

Both the station and the surrounding area are believed to be named after a 16th-century publican, Ben Pimlico, who was well known for brewing nut-brown ale. Pimlico is the only station on the Victoria line which does not have an interchange with another Underground or National Rail line. There is no step-free access. It is the deepest station on the line measured by average depth of platform below sea-level, at 16 m.

History
When the extension of the Victoria line to Brixton via Stockwell was approved in 1966, there were discussions about building an additional station between Victoria and the River Thames. It was not included in the original plans for the extension, as there were concerns that it would not be financially viable or support enough footfall. However, there was strong local support for a station as it would better serve the surrounding community, and would immediately improve access to the Tate Gallery (now Tate Britain). The Crown Estate offered free land for a site.

In June 1968, Minister of Transport Richard Marsh approved a proposal to build the station, following work by London Transport that showed "considerable benefits" to the local area, despite the station not being profitable to operate. The extension to Brixton opened on 23 July 1971, but Pimlico station was not yet complete, and trains passed through slowly without stopping.

Construction of the sub-surface works was complicated by the presence of the Kings Scholars Pond Sewer, also known as the Tachbrook, which runs under the road along the southern edge of the ticket hall. Bessborough Street covers a large number of pipes and mains which had to be avoided, while the escalator shaft had to be excavated through water-bearing gravel. As at Vauxhall on the south side of the Thames, the ground had to be frozen to prevent it collapsing during construction.

The station was opened by the Lord Mayor of Westminster on 14 September 1972 – more than a year after the rest of the line had become fully operational – and began serving regular passengers that afternoon. The total estimated cost was £1.4 million. Pimlico was the last Underground station to open until the first section of the Piccadilly line's Heathrow extension was opened to Hatton Cross in 1975. After Blackhorse Road station was re-sited to interchange with the Victoria line in 1981, Pimlico became the only station on the line without any direct connections to any other.

In March 2015, the station was chosen to be the test site station for 'Wayfindr', an app that helps visually impaired people navigate their way through the station using iBeacon devices. The trial was successful, which subsequently led to a $1 million grant from Google, and the app was installed at other stations.

The station was closed in 2020 from 21 March to 18 May in response to the COVID-19 pandemic, where non-essential travel was restricted. In July 2021, the station was temporarily closed again because of a lack of staff, after over 300 Transport for London (TfL) staff self-isolated as a result of COVID.

Artwork
Along with other stations on the Victoria line, Pimlico station features distinctive artwork motifs in the station building. The platform walls are covered with tiles decorated with a series of op art yellow spots designed by Peter Sedgley, who derived it from his 1968 piece, "Go". Sedgley was chosen by Sir Misha Black, who had formed London Transport's Design Research Unit, which oversaw the design of the whole Victoria Line. Black wanted a contemporary artist to create the tiles for Pimlico, because of its closeness to the Tate Gallery, but Sedgley's request that the tiles should be set in a washable grout was ignored, and the grout has become blacker with time because of the dusty air on the platforms.

A poster by David Booth was installed at the station in 1987 as part of the "Art on the Underground" series. It features the various underground lines as paint squeezed from a tube, with the tube itself positioned at Pimlico. The poster has become well known, and has been reprinted on a number of occasions. It is now held at the London Transport Museum in Covent Garden.

Incidents
On 1 December 2019, a passenger was killed after being hit by a train. The station was evacuated and services suspended on the Victoria line between Victoria and Brixton.

In 2023, a cat was found on the Victoria line by tube drivers. He had been transported to the UK from Dubai for rehoming but had been left at Pimlico station. After several attempts, he was rescued two weeks later.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Pimlico tube station


text:
Talk:Electronic portfolio

Untitled
I'm the author of the text originally contained on http://www.europortfolio.org. Serge 12:25, 21 Nov 2003 (UTC)

To put this page into more of an encyclopedic style, I think it should include information on what bodies define the ePortfolio standards it mentions, how many standards there are, how long this thing has been around, who is using it, and that kind of thing. As it stands it is a definition, but it doesn't put the topic into the context of the rest of the universe. Without that context information, it's impossible for the uninformed reader to see whether ePortfolios are actually interesting or important - the reader can't tell whether they are totally irrelevant because nobody uses them, or vitally important because half the universities in the world use nothing else. Onebyone 11:29, 21 Nov 2003 (UTC)

 * I am new to Wikipedia but have been doing a lot of research on eportfolios in higher education. I have been working on some edits for the page but would like some other opinions on whether this helps address some of the concision issues with this article:

Eportfolio is a digitized collection consisting of artifacts and reflection. Typically, an eportfolio is designed to showcase diverse achievements and traits of the creator and is targeted to a particular audience.

Artifacts: Artifacts are selected by the creator to represent a specific project or experience and can take the form of written texts (essays, lab reports, resumes, articles, etc.), texts in other media (videos, podcasts, screencasts, songs, blue prints, 3D models, photos, graphics, maps, etc.) and/or blended texts.

Reflection: It is the reflection component that distinguishes eportfolio from merely a digital archive of artifacts. Creators must interpret and communicate the importance of individual artifacts to the eportfolio’s overall message. In the same way an essay writer must combine evidence and analysis to support their thesis statement, the eportfolio’s reflections must explain the significance of each artifact to the formation of the creator’s identity in a particular context. [1]

Higher Education: Eportfolios are growing in popularity in higher academia for a number of reasons. Two of the most widely cited are 1) as a tool for assessment and 2) as a tool to foster integrative learning. Although these two uses are not mutually exclusive, they are often seen as being at odds with one another because the first prioritizes the needs of administrative stakeholders (the audience for the eportfolio) while the other prioritizes the needs and benefits of the individual learner (the producer of the eportfolio). [2]; [3]

Life Long Learning: The potential of an eportfolio to bridge the gap between formal education and life long learning is one of the reasons educators from every level and discipline have been quick to adopt it. "The e-portfolio is a tool for documenting and managing one's own learning over a lifetime in ways that foster deep and continuous learning. The e-portfolio is uniquely suited for 21st century learning, an age when learning takes place anywhere and anytime, both inside and outside formal education" (55). [4]

Job Seekers:

Research on the value of eportfolios for jobseekers is sparse and mostly anecdotal. One study from 2008 found that 56% of employers said they would use eportfolios to make hiring decisions in the future, but there are as yet no published studies confirming or contradicting this projection. That 2008 study concludes "E-portfolios demonstrate students' learning and competency, yet higher education has not persuaded employers to use them in recruiting and selecting employees." [5]

Reese, Michael; Levy, John. "Assessing the Future: E-Portfolio Trends, Uses, and Options in Higher Education". Educause: Center for Applied Research - Research Bulletin (2009,4). https://net.educause.edu/ir/library/pdf/ERB0904.pdf Love, Terrence; Cooper, Trudi. (2004) "Designing Online Information Systems for Portfolio-Based Assessment: Design Criteria and Heuristics" Journal of Information Technology Education, Volume 3. 65-81. http://jite.org/documents/Vol3/v3p065-081-127.pdf Batson, Trent. "The ePortfolio Hijacked". 'Campus Technology' 12 Dec 2007. http://campustechnology.com/articles/2007/12/the-eportfolio-hijacked.aspx "Jenson, Jill D.; Treuer, Paul. "Defining the E-Portfolio: What It Is and Why It Matters". Change: The Magazine of Higher Learning 46.2, 50-57 http://dx.doi.org/10.1080/00091383.2014.897192 Ward, Chris; Moser, Chris. "E-Portfolios as a Hiring Tool: Do Employers Really Care?". 'Educause Quarterly (2008) 31.4 http://www.educause.edu/ero/article/e-portfolios-hiring-tool-do-employers-really-care Lmdouko82 (talk) 22:48, 14 June 2015 (UTC)

Thank you very much for your helpful comment. Since my first attempt, I've had the time to browse through the different style manuals, and realised that, as you wrote, it's more a dictionary entry, and completely lacked context -- it's kind of ironic as I'm the advocate of context management systems over content management system. As I've already written several articles on the subject, I'll try to make something at the same time concise and informative.

What I'll also do is ask fellow ePortfolio specialists to work with me on a good (series of) article(s).

One question though (if you ever come back to this page): when I use a text I've written myself (or in collaboration with a direct colleague) is making a statement in the talk page sufficient or are there other procedures. After reading the documentation and FAQs, this is still not clear to me. Serge 12:25, 21 Nov 2003 (UTC)

 * Making the statement here is sufficient unless someone decides for some reason not to believe you (which isn't entirely unreasonable since there's nothing on Wikipedia that proves who you are). I'm not sure what happens in that situation, I'd guess that they will independently contact the website in question for confirmation. Onebyone 15:13, 21 Nov 2003 (UTC)

 * Yes, that's exactly what I did, and can, therefore, confirm that Serge is the original author of the work, and is able to release it under the GFDL. I've merged the temp page with the original article, so that the original is now here. Angela 18:44, 21 Nov 2003 (UTC)

 * That's excellent, but when I add something I've written elswhere, is there a way I can make the job of administrators such as you Angela easier ? Should I modify the original Internet file, to includes the GFDL statement?

 * That would be a great idea. Angela 21:34, 21 Nov 2003 (UTC)

copyright
Just in case, I hold the copyright of the material, orginally published in the LiKE newsletter (www.eife-l.org/like).Serge 13:04, 21 Nov 2003 (UTC)

 * I moved the above from the article - such things are better on the talk page. Angela 18:46, 21 Nov 2003 (UTC)

Suggestions for a major revision
Reviewing the Electronic Portfolio entry, I belive that it might be improved in seveal ways.

First, some decision needs to be made about re-factoring some portfolio definitions out of this entry, in favor of the portfolio (education) entry and second, a broader recognition of the current landscape of tools to implement an electronic portfolio should be examined.

Refactoring. The three main types of ePorfolios described are really types of portfolios and probably should be addressed on that page. (I personally would describe these types of portfolios more in terms of three actions by portfolio authors (collect, select, reflect). What might usefully be retained would be a discussion of how electronic portfolios enable or augment each of the three types. I'm thinking for example of a mentor commenting on reflections, or of peer critique.

An idea that helps distinquish a portfolio from an electronic impelmentation of a portfolio is the latter can separate two functions: repository and presentation. (Perhaps it would be useful to recognize that several of the functions of an electronic portfolio map directly to content management systems.) Individual portfolio artifacts can be collected in the repository and then presented, singly or multiply in one or more different presentations for different audiences. This flexibilty is one of the distinguishing features of the electronic implementation.

Landscape of tools. The implication of the article is that there are a few standards-based eportfolio applications. That is true, there are, to varying degrees, standards, and also by degrees, software applications that implement them. However, the emphasis on standards and iteroperability is only one dimension of the landscape to consider. There are other tools that have 'emergent' portfolio properties, and bear mention in this article. An example would be a "blog." While weak as a content managment system, blogs have the property of being highly connected via Ping/Trackback such that the communication about the elements in the blog-portfolio is facilitated. Wiki can also serve as a portfolio, consider the "my contributions" feature of MediaWiki. What is interesting in both the blog and wiki examples is that the portfolio artifacts (and largely the presentation) are being created as a by-products of ongoing work in a tool. Nils peterson 23:59, 1 August 2005 (UTC)

I agree 100% about the "types" section. These aren't the main types. Types include Working, Learning, Advising, Professional, and Assessment portfolios. There is overlap between these types. Collecting, Selecting and Reflecting are the typical ways the actions are described. I'd like to see TYpes and Actions sections in the revision and will gladly contribute to this as I am currently developing faculty training materials for my employer.

204.249.68.152 17:42, 10 February 2007 (UTC)

The Usage Section is too Promotional--not Neutral
It should be written from a more neutral point of view--the section should focus on intended utility and not sound like a sales pitch. It could even be deleted, since it is adequately described in other sections. —Preceding unsigned comment added by 143.200.142.130 (talk) 14:30, 25 September 2007 (UTC)

Pedantry
" "
 * 1) use sans-serif fonts
 * 2) use typical font types (Times New Roman, Verdana, Arial, etc.)

Times New Roman is a serif font...

As a web developer, I must point out that "typical font types", from the POV of web development, are really, "sans-serif", "serif", and "monospace". Font names (e.g. "Verdana") have no place in a web page aiming for broad usability.

Additionally, "Browser safe colors" is no longer an issue in today's browsers. Whoever wrote the section on web design considerations appeared to have been writing from the POV of ten years ago.

I'd actually suggest that the entire section on design considerations doesn't belong here. It's like looking at an entry for "car" and finding a huge section devoted to paint finish options...

Why should we do this
This portfolio is pointless. I feel that we the students dont need to show what we learned 3 times every year. We all ready do the mid-terms and the final exams, so why should we have to make a profolio showing the work we did in class. It's like makeing a folder to show your parents what you learned in school today. I for one think this is possably the dumbest idea ever thought up, its right up there with the war in Iraq and the Articles of Confederation. —The preceding unsigned comment was added by 158.123.138.50 (talk) 15:04, 13 December 2006 (UTC).

I agree that the article comes off sounding like a sales pitch -- not neutral. How about some data on the supposed benefits of e-portfolios in education, including scientific studies proving that e-portfolios aid student learning in some way. Is there, in fact, any such thing? Also, how about some criticism of e-portfolios as being potentially just another educational fad that will inevitably go the way of countless other educational fads such as "the one-room schoolhouse"? I think there is far more to e-portfolios than the feel-good hype that is being trumpeted in this article. —Preceding unsigned comment added by 68.9.34.156 (talk) 15:41, 9 March 2008 (UTC)

Lists of external links
(The following discussion was moved from my talk page after I deleted a list of external links from the body of the article, deeming it linkspam. =Axlq 14:42, 28 August 2008 (UTC)

Showing the available and popular examples of an electronic portfolio is not link spam. These are in fact useful examples of what the theoretically focused text in the article is speaking about. Virtual experience is lived experience; It is different than the physical world. Would you delete a photo of a dolphin from the entry on dolphins? No. Why not? That is the same reason you should leave the linked examples to "electronic" portfolios in the external links section. Thanks, sgoggins. Sgoggins (talk) 19:38, 27 August 2008 (UTC)

 * Kindly review What Wikipedia is not. In this instance, Wikipedia is not web directory of external links, and it is not an indiscriminate collection of information. The examples presented by those sites are unnecessary and detract from the quality of the article. If those sites aren't notable enough to have their own articles, there is no need to link to them. =Axlq 04:08, 28 August 2008 (UTC)

 * Kindly review Wikipedia_is_an_encyclopedia . Next, check the wikipedia entry for Sociotechnical_systems_theory .  After reflection, you will recognize that your training and passion for recognizing link spam requires some adaptation when the very entry under consideration is the discussion of something "electronic".  I hope you are more of a judge than a police officer;  That you see your role as helping to develop the culture of wikipedia appropriately, and not simply to act in response to what you first see.  The entry you are editing incorrectly is for ELECTRONIC portfolios.  These are real things, but in the virtual world.  The theoretically well substantiated points in the article are interesting, but actually tell you very little about what an ELECTRONIC portfolio is.  In order to comply with the wikipedia rules that indicate wikipedia is not a directory, or a place for promotion, etc., the diversity of examples is about 1 dozen.  The question you need to ask is:  Does wikipedia only support pure theory, or does wikipedia also address *real things* in the "real" world.  If wikipedia is to deal with the virtual world, some thinking about how to reasonably apply the spirit of the law to these cases must be undertaken.  The fact is that what an ELECTRONIC portfolio "is", is still being negotiated in this real world.  The examples provided reflect the diversity of these different understandings.  A classic "encyclopedia" dealt mostly with history, and evidence supported by physical things in the physical world.  In this new, virtual world that wikipedia itself is a part of, how we provide examples is of the utmost importance.  The removal of these links renders the article of little practical use to anyone except an academic. 12.10.125.8 (talk) 14:15, 28 August 2008 (UTC)

 * I know the policies and guidelines, thank you. My original comments still stand. External links to non-notable examples are inappropriate, a directory of external links is inappropriate, links going to promotional pages that do not further illuminate the articleare inappropriate, and exceptions aren't warranted because you think one article is a special case. The policies and guidelines apply to all. If you want to reflect the diversity of different understandings, then write about them, with appropriate citations. Again, that large list of links do not belong there. I have requested a 3rd opinion. =Axlq 14:37, 28 August 2008 (UTC)

Third Opinion
Notable examples should be converted into prose, and referenced with links to the external sites within tags. Bare "External Sites" are less valuable than contextualized links. While Axlq is correct in his reading of WP:EL, articles can and should contain external references in the reflist, especially if is used. Jclemens (talk) 16:13, 28 August 2008 (UTC)

Comment
The suggestion that one can convert a virtual space into descriptive text is not well informed. For example, describe a Dolphin with text. Why would one do that? One would not. The linking of representative examples of a concept whose definition is still being worked out through practice in the world is both valid and appropriate according to wikipedia's guidelines. This AXLQ fellow is not considering the facts of this case. —Preceding unsigned comment added by 12.10.125.8 (talk • contribs) 21:43, 28 August 2008

There is definite hole in AXLQ's aurgument. Wikipedia and its body of editors and volunteer editors can't keep up with the ever expanding body of world wide knowledge. They are coming up short in fulfilling the purpose of an encyclopedia. From Wikipedia's own article on encyclopedia's

n. encyclopedia (or encyclopædia) is a comprehensive written compendium that contains information on either all branches of knowledge or a particular branch of knowledge.

“      Indeed, the purpose of an encyclopedia is to collect knowledge disseminated around the globe; to set forth its general system to the men with whom we live, and transmit it to those who will come after us, so that the work of preceding centuries will not become useless to the centuries to come; and so that our offspring, becoming better instructed, will at the same time become more virtuous and happy, and that we should not die without having rendered a service to the human race.—Diderot[2]

Interesting note that AXLQ admits this is a problem in a comment posted related to his involvement in an wikipedia fishes project, " Northern hogsucker - stub, not much to say. There are many fish that need articles, please help." Are the fish species that are missing "not relevant" information? Are these gaps in wikipedia's information a problem that undermines its primary purpose? These fish species are relevant and wikipedia is in jepordy of failing at fulfilling its primary purpose do to these gaps in information.

What is the solution. I suggest, a reasonable compromise with links to sources of information outside of Wikipedia are needed to compensate for wikipedia's inability to keep up with the explosion of world-wide information. Loss of information whether it be species of fish or electronic portfolio tools is a shortcoming within wikipedia which undermines its primary purpose and can not be accepted. —Preceding unsigned comment added by 12.10.125.8 (talk • contribs) 21:43, 28 August 2008
 * Allow me to be a little bit more explicit. There are two choices here:
 * 1) The extra external links are removed, or
 * 2) The external links are presented in a manner consistent with Wikipedia's core policies.
 * I'm all in favor of presenting information in a compelling and meaningful way, but we're not going to debate WP:NOT and WP:EL on this page. You may feel free to seek out those pages' associated talk page and begin such a discussion there, should you desire. Jclemens (talk) 00:47, 29 August 2008 (UTC)

 * Thank you. I am also in favor of presenting the information in a meaningful way. Policies and guidelines are not negotiable, as I have been trying to explain.
 * There is no hole in my argument. Claiming "it's too complex so we need the links instead" is nothing more than a lazy excuse for not writing a good article, and does not justify making exceptions due to perceived "special circumstances". I have deleted the links yet again, per policy. If the opposing editor can show where in Wikipedia's policies and guidelines (not general definitions) such a list of links is permissible, I will gladly withdraw. But WP:NOT and WP:EL are quite clear on this point. =Axlq 03:10, 29 August 2008 (UTC)
 * I have to site with Axlq in this, the article should be theoretical because this is an encyclopedia, I think there are still to many links in the article at this moment (to both the conferences and research, if the research is that important make references to the conclusion at apropriet moments). Also the part that reads "For a profound insight to the use of traditional portfolios and their educational benefits and practices check out Elizabeth Hebert. Helen Barrett is probably the most authoritative author for anything related to e-Portfolios - 'The Grandmother of e-Portfolios some have called her." is not encyclopedia like. Forinstance if the insights of E. Hebert are profound, why are they then not mentioned with a reference to the article(s). Same goes for Helen Barret, references to articles with in the text would make her authoritative, now it is just a line someone added, without any proof (her website is nice, but I can also put up a website) —Preceding unsigned comment added by Mach10 (talk • contribs) 04:09, 29 August 2008 (UTC)

It is unfortunate that there was no follow up to the elimination of Dr. Helen Barrett. She really is both the grandmother and the guru of e-portfolios. I have omitted the longer list of references, but there are some simple proofs on this point that could have been added to this article, which I agree needs quite a re-write. It is my hope to tackle this in the next few months: 1. Her website is incredibly comprehensive, with pedagogy, practical advice, and examples of how she has created a portfolio in almost every platform imaginable, both paid and free, including their affordances (Barrett, 2016) 2. She has partnered with Google to create a detailed step-by-step guide to using Google sites for creating an e-portfolio, which Google recommends new users explore and use (Google, n.d.). And partnered with Apple, and the George Lucas Educational foundation (Barrett, 2013). 3. She has, at the very least, written 18 journal articles, spoken at 4 conferences and written 1 book, according to a simple Google Scholar search, with scholarly work ranging from 1994 - 2011. She has also written a very long list of documents, wiki entries, how-to, and other resources, both on her site, and for other sites. (see References) 4. Looking at her resume, she has multiple positions as faculty and researcher related to technology, as well as founding her own academy for K-12 teachers professional development around e-portfolios. She also has quite a few awards and honours, including being awarded the first Lifetime Achievement Award by EIFEL at the Fifth Annual EuroPortfolio Conference in Maastricht, The Netherlands, October 2007, to recognize contribution to ePortfolio research and development. (Barrett, 2013) She is clearly THE e-portfolio guru! References Abrami, P., & Barrett, H. (2005). Directions for research and development on electronic portfolios. Canadian Journal of Learning and Technology/La Revue Canadienne De l’apprentissage Et De La Technologie, 31(3) Barrett, H. (2013). 5-page version of vita [pdf]. Dr. Helen Barrett’s Brief Biography. Retrieved from http://electronicportfolios.com/2012Vita-5page.pdf Barrett, H. (1997). Collaborative planning for electronic portfolios: Asking strategic questions. Retrieved from the World Wide Web: Http://transition.Alaska.edu/www/portfolios/planning.Html, Barrett, H. (2016). electronicportfolios.org. Retrieved from http://electronicportfolios.com/ Barrett, H. C. (2011). Balancing the two faces of ePortfolios. British Columbia Ministry of Education, Innovations in Education, 2nd Edition. Retrieved from http://electronicportfolios.com/index2.html Barrett, H. C. (2007). Research electronic portfolios and learner engagement: The REFLECT initiative: A rationale for the application of electronic portfolios in classrooms can strengthen arguments for their use. Journal of Adolescent & Adult Literacy, 50(6), 436. Barrett, H. C., & Garrett, N. (2009). Online personal learning environments: Structuring electronic portfolios for lifelong and life-wide learning. On the Horizon, 17(2), 142-152. doi:10.1108/10748120910965511 Gibson, D., & Barrett, H. (2003). Directions in electronic portfolio development. Technology and Teacher Education Annual, 1, 58-64. Google. (n.d.). Using Google sites for creating an eportfolio. Eportfolio resource center. Retrieved from https://sites.google.com/site/resourcecentereportfolio/how-to-use-google-sites Ldayjones — Preceding unsigned comment added by Ldayjones (talk • contribs) 17:48, 13 March 2017 (UTC)

External Links (again)
At the risk of tipping more worms from the can, someone needs to take a grip of this article and prune, if not cull, the current lists (plural!) of external links. I'm minded to support the original comment that most of these should simply be removed unless they can be shown to directly support the text of the article. However, I am nowhere near expert enough in the field to do so. I'm just very aware that I have removed links to www.e-portfolios.net from other pages because they were clearly just advertising, yet if I do so here, then it seems that I ought to wipe out several others - something which has clearly been attempted in the past.

Could perhaps some of those of you with interest/knowledge in the field try to come to some sort of consensus on this - or at the least a consensus on how to organise the many sections of links that currently exist in the article under 'See Also', EL & related events is franky embarrassingly laughable! Tafkam (talk) 23:11, 10 August 2010 (UTC)

External links modified
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title: Talk:Electronic portfolio


text:
Queensway tube station

Queensway is a London Underground station on the Central line in Bayswater, just inside the boundary of the City of Westminster with the Royal Borough of Kensington and Chelsea. It is at the junction of Queensway and Bayswater Road, and is opposite the north-west corner of Kensington Gardens. It is between to the west and  to the east, and is in Travelcard Zone 1.

History
It opened on 30 July 1900, as Queen's Road, and was renamed on 1 September 1946. The building is an unusual survivor of the buildings designed for the Central London Railway by Harry Bell Measures, with a flat roof so that commercial development could take place above – in this case, a hotel. The Coburg hotel opened in 1907: its design features three cupolas, over shops and Queensway station. It was used as a location on the 1953 British film The Yellow Balloon (film).

The station today
There is a crossover east of the station to allow trains to terminate there. The crossover is not often used.

Refurbishment
The station was closed between 8 May 2005 and 14 June 2006 for refurbishment. These works were prompted by the need to replace the station's two (very old) lifts, which had been breaking down quite frequently prior to the station's closure. In addition the station had been modernised and re-tiled, as well as having replicas of the original lamps fitted to the façade.

Metronet, the private maintenance contractors, were originally given a deadline of 9 May 2006 to complete the works. When they failed to meet this or the revised 12 June deadline, Transport for London issued a harshly worded press release quoting London Underground Managing Director Tim O'Toole as saying "This is a further, and one hopes final, pathetic delay on a project that Metronet has failed to manage to time." The station finally re-opened on 14 June 2006.

During refurbishment, the closest station was on the Circle and District lines, which is also located on Queensway approximately 100 metres north of the Queensway station. While the two stations are in close proximity, they are not connected.

Connections
London Buses routes 70, 94, 148 and night route N207 serve the station.

title: Queensway tube station


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User talk:Serge~enwiki

Hello, welcome to Wikipedia. Here are some useful links in case you haven't already found them:

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Tip: you can sign your name with ~

Dori 19:10, Nov 20, 2003 (UTC)

Hello Serge. In case you didn't see my e-mail yet and were wondering where Talk:ePortfolio/temp has gone - I've merged it with the original article's page history, so it's now at ePortfolio. Angela 18:50, 21 Nov 2003 (UTC)

Thank you Angela. I start to get acclimated to this very interesting, promising and exciting environment.Serge 20:15, 21 Nov 2003 (UTC)

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Hello,

The developer team at Wikimedia is making some changes to how accounts work, as part of our on-going efforts to provide new and better tools for our users like cross-wiki notifications. These changes will mean you have the same account name everywhere. This will let us give you new features that will help you edit and discuss better, and allow more flexible user permissions for tools. One of the side-effects of this is that user accounts will now have to be unique across all 900 Wikimedia wikis. See the announcement for more information.

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title: User talk:Serge~enwiki


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Russell Square tube station

Russell Square is a London Underground station opposite Russell Square on Bernard Street, Bloomsbury, in the London Borough of Camden. The station is on the Piccadilly line, between Holborn and King's Cross St Pancras and is in Travelcard Zone 1.

Russell Square Station is not far from the British Museum, the University of London's main campus, Great Ormond Street Hospital, Russell Square Gardens and the Brunswick Centre.

The station is the work of London architect Leslie Green and is example of the Modern Style (British Art Nouveau style).

History
The station was opened by the Great Northern, Piccadilly and Brompton Railway on 15 December 1906. The station was designed by Leslie Green. In 2001, the station was closed for 13 months for refurbishment, reopening in February 2002.

2005 London bombings

On 7 July 2005, in a co-ordinated bomb attack, an explosion in a train travelling between King's Cross St. Pancras and Russell Square resulted in the deaths of 26 people. Another bomb later exploded on a bus at Tavistock Square.

A plaque remembering the victims, identical to the one at King's Cross St Pancras tube station, is located at the station.

Station listing
On 20 July 2011, English Heritage gave the station buildings Grade II listed status, describing it as: "a good example of a station designed by Leslie Green to serve the GNP & BR, later the Piccadilly Line, retaining original tiled lettering. The interior, while altered, features of interest survive at lower levels including tiling and directional signage. The Yerkes group of stations designed by Leslie Green illustrate a remarkable phase in the development of the capital's transport system, with the pioneering use of a strong and consistent corporate image; the characteristic ox-blood faience façades are instantly recognisable and count among the most iconic of London building types."

The station today
The station is a Grade II listed building.

Russell Square station has three lifts, which are all fifty-passenger lifts built by Wadsworth. There are no escalators but the platforms can be reached using a spiral staircase with 176 steps.

The station has seven gates and a Wi-Fi service.

Platform level tiling

The stations on the central part of the Piccadilly line, as well as some sections of the Northern line, were financed by Charles Yerkes, and are famous for the Leslie Green designed red station buildings and distinctive platform tiling. Each station had its own unique tile pattern and colours.

Services and connections
Train frequencies vary throughout the day, but generally operate every 4–7 minutes between 05:56 and 00:28 in both directions.

London Buses routes 14, 68, 91, 168, 188, limited Superloop route SL6 and night route N91 serve the station.

In popular culture
Russell Square tube station was used as the location for the 1972 horror film Death Line, which starred Donald Pleasence, Christopher Lee and Clive Swift.

title: Russell Square tube station


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Sloane Square tube station

Sloane Square is a London Underground station in Chelsea, serving Sloane Square. It is served by the District and Circle lines, between South Kensington and Victoria stations and is in Travelcard Zone 1.

The entrance to the station is on the east side of Sloane Square (A3217). It is adjacent to the Royal Court Theatre and is the nearest station for King's Road shopping, the Peter Jones department store and the Cadogan Hall.

History
The station was opened on 24 December 1868 by the District Railway (DR, now the District line) when the company opened the first section of its line between South Kensington and Westminster stations.

The construction of the station was complicated by the crossing of the site by the River Westbourne which ran through Hyde Park as the Serpentine Lake and was originally crossed by the Knight's Bridge at Knightsbridge. The river was carried above the platform in a large iron pipe suspended from girders. This pipe remains in place today.

The DR connected to the Metropolitan Railway (MR, later the Metropolitan line) at South Kensington and, although the two companies were rivals, each company operated its trains over the other's tracks in a joint service known as the "Inner Circle".

On 1 February 1872, the DR opened a northbound branch from its station at Earl's Court to connect to the West London Extension Joint Railway (WLEJR, now the West London line) to which it connected at Addison Road (now Kensington (Olympia)). From that date the "Outer Circle" service began running over the DR's tracks. The service was run by the London and North Western Railway (LNWR) from Broad Street (now demolished) in the City of London via the North London line to Willesden Junction, then the West London Line to Addison Road. From Addison Road it ran over DR tracks to Mansion House.

From 1 August 1872, the "Middle Circle" service also began operations through Sloane Square running from Moorgate along the MR's tracks on the north side of the Inner Circle to Paddington then over the Hammersmith & City Railway (H&CR) track to Latimer Road then, via a now demolished link, to the West London line to Addison Road and the DR to Mansion House. The service was operated by the Great Western Railway.

On 30 June 1900, the Middle Circle service was withdrawn between Earl's Court and Mansion House. On 31 December 1908, the Outer Circle service was also withdrawn.

In the late 1930s, the station building was rebuilt in the modern style. Escalators were installed between the ticket hall and the platforms in early 1940, making the station the first on the sub-surface network to have escalators. The new station building did not last long as it was mostly destroyed during World War II. A German bomb that fell in November 1940 killed 37 and injured 79 passengers on a train in the station and destroyed the ticket hall, escalators and the glazed roof over the tracks.

In 1949, the Metropolitan line operated Inner Circle route was given its own identity on the tube map as the Circle line. By 1951 the station had been rebuilt again in a similar style to the 1930s building. The arched glass roof was not replaced and the current station does not have the light open atmosphere of the original. The office building above the station entrance is a later addition.

The Hole in the Wall pub on the eastbound platform existed from 1868 to 1985.

Incidents and accidents
On 5 April 1960, Peter Llewelyn Davies, one of the Llewelyn Davies boys who were the inspiration for the boy characters of J. M. Barrie's Peter Pan, or The Boy Who Wouldn't Grow Up, and who resented the public association with the character named after him, committed suicide by throwing himself under a train as it was pulling into the station.

On 26 December 1973, a terrorist bomb exploded in the telephone kiosk in the booking office. No one was injured.

Former Chelsea-Hackney line proposal
Sloane Square was considered as a potential station on the long-proposed Chelsea-Hackney line which has been absorbed into plans for Crossrail 2. The station is no longer on the planned route.

Connections
London Buses routes 11, 19, 22, 137, 170, 211, 319, 360, 452, C1 and night routes N11, N19, N22 and N137 serve the station.

In popular culture
Sloane Square is one of two tube stations (the other being South Kensington) mentioned in the song "When you're lying awake" from the operetta Iolanthe by Gilbert and Sullivan.

title: Sloane Square tube station


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Dieu et mon droit

Dieu et mon droit (, Deu et mon droit), which means God and my right, is the motto of the monarch of the United Kingdom. It appears on a scroll beneath the shield of the version of the coat of arms of the United Kingdom. The motto is said to have first been used by Richard I (1157–1199) as a battle cry and presumed to be a reference to his French ancestry (he spoke French and Occitan but knew only basic English) and the concept of the divine right of the monarch to govern. It was adopted as the royal motto of England by King Henry V (1386–1422), with the phrase "and my right" referring to his claim by descent to the French crown.

Language
The motto is French for "God and my right", meaning that the king is "Rex Angliae Dei gratia"   ("King of England by the grace of God"). It is used to imply that the monarch of a nation has a God-given (divine) right to rule.

It was not unusual for the royal coat of arms of the Kingdom of England to have a French rather than English motto, given that Norman French was the primary language of the English Royal Court and ruling class following the rule of William the Conqueror of Normandy and later the Plantagenets. Another Old French phrase also appears in the full achievement of the Royal Arms: the motto of the Order of the Garter, Honi soit qui mal y pense ("Shamed be the one who thinks ill of it"), appears on a representation of a garter behind the shield. Modern French spelling has changed honi to honni, but the motto has not been updated.

Other translations
Dieu et mon droit has been translated in several ways, including "God and my right", "God and my right hand", "God and my lawful right", and "God and my right shall me defend".

The literal translation of Dieu et mon droit is "God and my right". However, Kearsley's Complete Peerage, published in 1799, translates it to mean "God and my right hand" (in standard French that would be Dieu et ma main droite, not mon droit). The Kearsley volume appeared during publication of the 1st edition (1796–1808) of the German Brockhaus Enzyklopädie, which emphasised the raising of the "right hand" during installations and coronations of German Kings.

Diderot's Encyclopédie lists the motto as Dieu est mon droit, which Susan Emanuel translated as "God is my right".

Use as royal motto
Dieu et mon droit has generally been used as the motto of English monarchs, and later by British monarchs, since being adopted by Henry V. It was first used as a battle cry by King Richard I in 1198 at the Battle of Gisors, when he defeated the forces of Philip II of France and after he made it his motto. Medieval Europeans did not believe that victory necessarily went to the side with the better army, but (as they also viewed personal trial by combat) to the side that God viewed with favour. Hence Richard wrote after his victory "It is not us who have done it but God and our right through us". So after his victories on the crusades "Richard was speaking what he believed to be the truth when he told the Holy Roman Emperor: 'I am born of a rank which recognises no superior but God.

Alternatively, the Royal Arms may depict a monarch's personal motto. For example, Elizabeth I and Queen Anne's often displayed Semper Eadem; Latin for "Always the same", and James I's depicted Beati Pacifici, Latin for "Blessed are the peacemakers".

Current usages
Dieu et mon droit has been adopted along with the rest of the Royal Coat of Arms by The Times as part of its masthead. When it incorporated the Coat of Arms in 1875, half the newspapers in London were also doing so. Since 1982 the paper abandoned the use of the current Royal Coat of Arms and returned to using the Hanoverian coat of arms of 1785.

Versions of the Coat of Arms, with the motto, are used by various newspapers, including Melbourne's The Age in Australia, Christchurch's The Press in New Zealand, the UK's Daily Mail, and Canada's Victoria Times Colonist. It is also used in Hardwick Hall in England on the fireplace of The High Great Chamber, also known as the Presence Chamber, though there it reads Dieu est mon droit, God is my right. instead creating an additional 'ES' monogram. The extra E and S are a superimposition on the original E. This was added at a later date after the original writing was put up; to deface the Royal Arms would have been very dangerous, hence it was added later.

It is also found on the official belt buckle of the Jamaica Constabulary Force; the front page of a British passport; the rank slide of a warrant officer in the British and other Commonwealth armed forces; the arms of the Supreme Court of South Australia, the Supreme Court of Victoria and Supreme Court of New South Wales; and the crests of Hawthorn Rowing Club in Melbourne, Australia, Nottingham Law School, and Sherborne School.

The coined phrase was also used by Michael Jackson at his Neverland Ranch's front gates. The crest on the main gates carried the Royal Coat of Arms of the United Kingdom, along with the phrase at the bottom.

The motto was formerly included in a scroll on the Western Australia Police Force coat of arms, before being replaced with "Protect and Serve" when the organisation changed its name from Western Australia Police Force to Western Australia Police Service.

It is the motto of Queen Elizabeth's School, Barnet.

It is the motto of the Royal Grammar School, Guildford, England. It is the motto of several, but not all, schools within the King Edward VI School Foundation, Birmingham, England including:

 * Fee Paying:     King Edward’s School
 * Selective:         King Edward VI Aston School,  King Edward VI Camp Hill School for Girls,  King Edward VI Five Ways School,  King Edward VI Handsworth School for Girls

It is also found on the Old Customs House in Sydney, Australia. The Royal Coat of Arms is intricately carved in sandstone, located above the main entry pediment.

Variants
The Hearts of Oak, a revolutionary New York militia commanded by Alexander Hamilton, wore badges of red tin hearts on their jackets with the words "God and Our Right".

The phrase was the inspiration for a joke motto by The Beatles, Duit on Mon Dei ("Do it on Monday") and Harry Nilsson's 1975 album Duit on Mon Dei.

Prince Philip, Duke of Edinburgh, as consort of the British monarch, used a similar motto: "God Is My Help".

Dieu est mon droit
Henry Hudson in 1612 used the wording Dieu est mon droit (God is my right).

Other people considered the phrase Dieu est mon droit (God is my right) means he was direct sovereign and not vassal of any other king.

Another example of Dieu est mon droit is inscribed under the royal coat of arms on the over mantle of the High Great Chamber in Hardwick Hall, Derbyshire.

title: Dieu et mon droit


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Randolph

Randolph may refer to:

In the United States

 * Randolph, Alabama, an unincorporated community
 * Randolph, Arizona, a populated place
 * Randolph, California, a village merged into the city of Brea
 * Randolph, Illinois, an unincorporated community
 * Randolph, Indiana, an unincorporated community
 * Randolph, Iowa, a city
 * Randolph, Kansas, a city
 * Randolph, Maine, a town and a census-designated place
 * Randolph, Massachusetts, a city
 * Randolph, Minnesota, a city
 * Randolph, Mississippi, an unincorporated community
 * Randolph, Missouri, a city
 * Randolph, Nebraska, a city
 * Randolph, New Hampshire, a town
 * Randolph, New Jersey, a township
 * Randolph, New York, a town
 * Randolph (CDP), New York
 * Randolph, Oregon, an unincorporated community
 * Randolph, Pennsylvania, an unincorporated community
 * Randolph, South Dakota, an unincorporated community
 * Randolph, Tennessee, an unincorporated community
 * Randolph, Texas, an unincorporated community
 * Randolph, Utah, a town
 * Randolph, Vermont, a New England town
 * Randolph (CDP), Vermont, the main village in the town
 * Randolph, Virginia, an unincorporated community in Charlotte County
 * Randolph, Richmond, Virginia, a historically black middle-class neighborhood of Richmond
 * Randolph, Wisconsin, a village
 * Randolph (town), Wisconsin
 * Randolph Township, Dakota County, Minnesota
 * Randolph Township, Pennsylvania
 * Randolph Air Force Base, Texas
 * Randolph County (disambiguation), several in the U.S.
 * Fort Randolph (disambiguation)

Elsewhere

 * Randolph, Manitoba, Canada, a small community
 * Fort Randolph (Panama), a Coast Artillery Corps fort guarding the Panama Canal
 * Randolph Avenue, a street in London, England

People

 * Randolph (given name)
 * Randolph (surname)
 * Randolph family of Virginia

Ships

 * Randolph (ship), a merchant ship that carried settlers to Christchurch, New Zealand
 * USS Randolph, two ships of the United States Navy

Hotels

 * Randolph Hotel, Oxford, England ("The Randolph")
 * Randolph Hotel (Des Moines, Iowa), listed on the National Register of Historic Places in Iowa, also known as the Hotel Randolph
 * Randolph Hotel (Chicago), temporary name of the former Bismarck Hotel in Chicago, now Hotel Allegro

Schools

 * Randolph College, a private liberal arts and sciences college in Lynchburg, Virginia
 * Randolph College for the Performing Arts, a private career college in Toronto, Ontario, Canada
 * Randolph School, a college preparatory school in Huntsville, Alabama
 * Randolph School (Richmond, Virginia), on the National Register of Historic Places

Other uses

 * Randolph Street, Chicago, Illinois, United States
 * Millennium Station (formerly called Randolph Street Station), a commuter rail terminal in Chicago
 * Randolph Road, a county highway in Maryland, United States
 * Randolph Engineering, an American eyewear company

title: Randolph


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Temple tube station

Temple is a London Underground station located at Victoria Embankment in the City of Westminster, close to its boundary with the City of London. It is on the Circle and District lines between Embankment and Blackfriars, and is in fare zone 1.

The station was opened on 30 May 1870 with the name The Temple, from the Temple area in the vicinity of Temple Church, and from the Inner Temple and the Middle Temple, two of the four Inns of Court of London. The definite article in the name fell out of use quite early.

History

The Temple station was opened in the parish of St. Clement Danes on 30 May 1870 by the District Railway (DR; now the District line) when the company extended its line from Westminster to St. Paul's station (now called Blackfriars). The construction of the new section of the DR was planned in conjunction with the building of the Victoria Embankment and was achieved by the cut and cover method of roofing over a shallow trench.

The DR connected to the Metropolitan Railway (MR; now the Metropolitan line) at South Kensington and, although the two companies were rivals, each company operated its trains over the other's tracks in a joint service known as the "Inner Circle".

On 1 February 1872, the DR opened a northbound branch from its station at Earl's Court to connect to the West London Extension Joint Railway (WLEJR, now the West London line) which it connected to at Addison Road station (now Kensington (Olympia)). From that date the "Outer Circle" service began running over the DR's tracks. The service was run by the North London Railway (NLR) from its terminus at Broad Street (now demolished) in the City of London via the North London line to Willesden Junction, then the West London Line to Addison Road and the DR to Mansion House, which was the new eastern terminus of the DR.

From 1 August 1872, the "Middle Circle" service also began operations through the station running from Moorgate along the MR's tracks on the north side of the Inner Circle to Paddington then over the Hammersmith & City Railway (H&CR) track to Latimer Road then, via a now demolished link, to the West London line to Addison Road and the DR to Mansion House. The service was operated jointly by the H&CR and the DR.

On 30 June 1900, the Middle Circle service was withdrawn between Earl's Court and Mansion House.

At the beginning of the 20th century early plans for the Great Northern and Strand Railway (later incorporated into the Great Northern, Piccadilly & Brompton Railway and now part of the Piccadilly line) included a proposal for the line to continue to Temple. The plan was rejected and the route was ended instead at the now closed Aldwych station, about 200 m to the north.

On 31 December 1908, the Outer Circle service was withdrawn from the DR tracks.

In 1949, the Metropolitan line-operated Inner Circle route was given its own identity on the Tube map as the Circle line.

The rooftop of the station has been converted into an open-air art exhibition space known as The Artist's Garden.

title: Temple tube station


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Vauxhall station

Vauxhall is a National Rail, London Underground and London Buses interchange station in central London. It is at the Vauxhall Cross road junction opposite the southern approach to Vauxhall Bridge over the River Thames in the district of Vauxhall. The mainline station is run by the South Western Railway and is the first stop on the South West Main Line from London Waterloo towards Clapham Junction and the south-west. The Underground station is on the Victoria line and the station is close to St George Wharf Pier for river services.

The station was opened by the London and South Western Railway in 1848 as Vauxhall Bridge station. It was rebuilt in 1856 after a large fire, and given its current name in 1862. In the early 20th century, Vauxhall saw significant use as a stop for trains delivering milk from across the country into London. The tube station opened in 1971 as part of the Victoria line extension towards Brixton, while the bus station opened in 2004. It remains an important local interchange on the London transport network.

Location
The station sits just to the east of Vauxhall Bridge, on a viaduct with eight platforms, straddling South Lambeth Road and South Lambeth Place, alongside Vauxhall Cross. On the National Rail network it is the next station on the South West Main Line along from London Waterloo, 1 mi to the south-west. On the Underground it is on the Victoria line between to the north and  to the south. The area has several surrounding railways, including the line from Victoria to Streatham. The station is on the boundary of zones 1 and 2 of the London Travelcard area and, although a through station, it is classed as a central London terminus for ticketing purposes.

Vauxhall bus station is at ground level, across the road from the railway station. It has a photovoltaic roof supplying much of its electricity, and caters for around 2,000 buses per day.

Mainline station
The station is incorporated within the Nine Elms to Waterloo Viaduct. It was opened by the London and South Western Railway (LSWR) as "Vauxhall Bridge Station" on 11 July 1848 when the main line was extended from Nine Elms to Waterloo, then known as "Waterloo Bridge Station". The viaduct was constructed to minimize property disturbances; nevertheless some 700 properties were demolished extending the line past Nine Elms and through Vauxhall.

In the period when Vauxhall was opened, there was no way for an inspector to move through the length of a train to check tickets, so it was used as a ticket stop, like several other stations. Having arrived at Vauxhall, the train would stop for as long as necessary while all tickets could be examined and collected.

On 13 April 1856, the station caught fire and was almost totally destroyed. The line was quickly repaired and services through to Waterloo resumed without much delay. After being rebuilt, the station was renamed "Vauxhall" in 1862. In the same year, the LSWR widened the main line through the station. Vauxhall was remodelled in 1936, which included an overhaul of the signalling system up to Waterloo.

Milk trains
In 1921, United Dairies opened a major creamery and milk bottling plant opposite Vauxhall station. Subsequently, milk trains regularly stopped at the station. The regular daily milk train was from Torrington, but services from all over the West Country would stop at Clapham Junction in the evening, and reduce their length by half so that they did not block Vauxhall station while unloading. They would then proceed to Vauxhall, and pull into the Up Windsor Local platform, where a discharge pipe was provided to the creamery on the other side of the road. There was also pedestrian access from below the station, under the road to the depot, in the tunnel where the pipeline ran. Unloaded trains would then proceed to Waterloo, where they would reverse and return to Clapham Junction to pick up the other half of the train. The procedure was then repeated, so that the entire milk train was unloaded between the end of evening peak traffic and the start of the following morning.

Modern developments
In 2017, work began to modernise the station layout and reduce congestion as part of an £800 million works programme to improve access to Waterloo. The existing lift was replaced and a new staircase was added between platforms 7 and 8 and the concourse.

London Underground
The first proposed underground station at Vauxhall was as part of the West and South London Junction Railway. The line was intended to connect Paddington to Oval via Vauxhall, crossing the River Thames slightly downstream of Vauxhall Bridge. It was rejected in January 1901 for failing to comply with Standing Orders and giving correct notice of eviction, and the plans were quietly shelved. Another abandoned scheme to connect Cannon Street with Wimbledon would have seen an interchange at Vauxhall; these plans were scrapped in 1902 owing to lack of funds.

The current deep tube London Underground station is on the Victoria line, which was the first major post-war underground project in Central London. The line was given approval to be extended from Victoria underneath the Thames to Vauxhall (and onwards to Brixton) in March 1966. To construct the escalator shaft, the ground beneath it was frozen with brine. The station platforms were designed by Design Research Unit and decorated with a motif from the 19th-century Vauxhall Gardens, designed by George Smith. At the same time, Vauxhall Cross road junction was rebuilt in order to accommodate the new Underground station. The Underground station was opened on 23 July 1971 by Princess Alexandra, as part of the extension of the Victoria line to Brixton.

In October 1982, the first automated ticketing system on the Underground was installed at Vauxhall on an experimental basis. The two machines were a "Tenfare" which sold the ten most popular single tickets, and "Allfare" which supplied single and return tickets to any tube station. The experiment ran until July 1983, and was subsequently used in the design of the rollout of the Underground ticketing system across the network.

In 2005, the existing fixed staircase between the two escalators down to platform level was replaced by a new escalator. Installed by Metronet as part of the Tube Private Public Partnership, the escalator was installed due to the high numbers of passengers using the station.

In the late 2000s, one potential option for extending the Northern line to Battersea was a route via Vauxhall station. Despite the benefit of connecting to the Victoria line and National Rail services, the option had a significantly higher cost than others, and increased the potential for increased overcrowding at the station. A route via Nine Elms was chosen instead. In the mid 2010s, the Underground station was upgraded and refurbished at a cost of £36m, as part of the Vauxhall Nine Elms Battersea regeneration project. Lifts were installed to provide step-free access to the Victoria line.

Bus
The bus station opened on 4 December 2004. It was designed by Arup Associates and features a distinctive metallic design constructed out of stainless steel. The station has been criticised for its proximity to the heavy traffic around Vauxhall Cross. In 2011, Transport for London announced they would demolish the bus station and construct a "linear walkway" instead. This was scrapped, but in 2017, they revived the demolition plans as part of general improvements in the area following support from Lambeth Council. The rebuilding is expected to take place between 2019 and 2021. Kate Hoey, member of parliament for Vauxhall has criticised the proposals, calling them a "stitch up".

National Rail
Vauxhall railway station is served by the South Western Railway to and from London Waterloo. Approximately 460 trains travel between the stations each day.

There are 8 platforms at the station, arranged into 4 islands, which, from north to south:
 * Platforms 1 and 2 on Waterloo–Reading line towards London Waterloo
 * Platforms 3 and 4 on Waterloo–Reading line towards Reading
 * Platform 5 on South West Main Line fast line towards London Waterloo
 * Platform 6 on South West Main Line fast line towards Weymouth
 * Platform 7 on South West Main Line slow line towards London Waterloo
 * Platform 8 on South West Main Line slow line towards Weymouth

In practice, platforms 5 and 6 are not used for passenger calls as fast trains do not call at this station.

The typical off-peak service consists of:

 * 2 tph to Chessington South
 * 2 tph to Dorking
 * 2 tph to Guildford via Cobham
 * 2 tph to Guildford via Epsom
 * 2 tph to Hampton Court
 * 2 tph on the Hounslow Loop Line via Hounslow and Richmond, returning to Waterloo (anti-clockwise)
 * 2 tph on the Hounslow Loop via Richmond and Hounslow, returning to Waterloo (clockwise)
 * 2 tph on the Kingston Loop Line via Kingston and Richmond, returning to Waterloo (clockwise)
 * 2 tph on the Kingston Loop via Richmond and Kingston, returning to Waterloo (anti-clockwise)
 * 2 tph to Shepperton
 * 2 tph to Weybridge via Hounslow
 * 2 tph to Windsor & Eton Riverside
 * 2 tph to Woking
 * 24 tph to London Waterloo

London Underground
Vauxhall is between Pimlico and Stockwell on the Victoria line with a peak time service frequency of 36 trains per hour, or around one every 100 seconds.

Connections
London Buses routes 2, 36, 77, 87, 88, 156, 185, 196, 344, 360, 436, 452 and night routes N2, N87 and N136 serve the adjacent bus station.

London River Services are available from nearby St George Wharf Pier. The service was opened in September 2011 by the Mayor of London, Boris Johnson, with the aim of expanding boat transport along the Thames by 20%. A service runs approximately every 40 minutes to the City of London and Canary Wharf.

Incidents

 * On 11 September 1880, a light engine collided with a service from Waterloo to Hampton. Five passengers were killed.
 * On 29 August 1912, a light engine collided with a rake of nine carriages. One passenger was killed and 43 were injured.
 * On 20 September 1934, two electric suburban trains collided at Vauxhall. The driver of one train and a passenger were taken to St Thomas' Hospital for treatment.
 * On 9 October 2000, an untrained student worker was hit by a train near Vauxhall station while unsupervised. An inquest in May 2002 returned a verdict of unlawful killing.
 * On 5 May 2016, a fire broke out in one of the signal cables at Vauxhall station. Services from Waterloo through the station were cancelled and the next major down station, Clapham Junction was closed as an overcrowding measure.

Name
The name Vauxhall is phonetically similar to the Russian word for a railway station, вокзал (vokzal). One theory for this similarity is that Tsar Nicholas I visited Britain in the mid-19th century to study the railway network. At the time, every train on the South Western Railway called at Vauxhall as a ticket stop. From this, the Tsar concluded that Vauxhall was a major transport interchange, and the word was introduced as the generic term in Russian.

title: Vauxhall station


text:
Günter Wand

Günter Wand (7 January 1912, in Elberfeld, Germany – 14 February 2002, in Ulmiz near Bern, Switzerland) was a German orchestra conductor and composer. Wand studied in Wuppertal, Allenstein and Detmold. At the Cologne Conservatory, he was a composition student with Philipp Jarnach and a piano student with Paul Baumgartner. He was a conducting pupil of Franz von Hoesslin in Munich, but was otherwise largely self-taught as a conductor. During his 65-year-long career as a conductor, he was particularly revered for his Schubert and Bruckner, and was honoured with many significant awards, including the German Record Award and the internationally important Diapason d'Or.

Career
In February 1924, aged 12, Wand attended a performance of Der Zigeunerbaron at the Thalia Theatre in Wuppertal-Elberfeld, and was so entranced he decided to become a conductor. The role of Sandor Barinkay that evening was sung by Richard Tauber.

Cologne
Wand started his career in Cologne, where he was to stay for several decades, as a conductor of the Cologne Opera in 1939. After World War II his position in Cologne was consolidated as he became Generalmusikdirektor in charge of both the opera and the Gürzenich Orchestra, which he conducted until 1974.

In 1948, he also started teaching conducting at a music school in Cologne. From the early 1950s he guest-conducted a number of orchestras, making his London debut in 1951 with the London Symphony Orchestra. Other orchestras who invited him included the WDR Symphony Orchestra Cologne and Munich Philharmonic Orchestra.

After several recordings of Mozart, Haydn and Beethoven with the Gürzenich for a French subscription collection in the mid-1950s, he made no studio recordings for nearly two decades with the exception of an appearance with the Vienna Philharmonic Orchestra on Decca Records, accompanying Wilhelm Backhaus in Robert Schumann's Piano Concerto (his only recording with that orchestra). In the 1970s and early 1980s, he recorded the complete symphonies of Franz Schubert and Anton Bruckner with the WDR Symphony Orchestra Cologne.

Hamburg and late years
In 1982, Wand became chief conductor of the NDR Symphony Orchestra. With the latter ensemble, he was able to record the complete symphonies of Beethoven and Brahms as well as works by Mozart, Tchaikovsky, Debussy, Schubert and Schumann. He also remade Bruckner's symphonies 3 to 9.

In January 1982, Wand conducted the BBC Symphony Orchestra for the first time, and was appointed principal guest conductor of the orchestra that same year. Wand was noted for demanding considerable rehearsal time, a minimum of 5 to 8 rehearsals, for his London concerts. On 9 September 1990 his UK Promenade Concert of Bruckner's 5th Symphony with the BBC Symphony was recorded and subsequently released in 2011 on DVD by the BBC/ICA (ICAD 5049). For his first appearance with a US orchestra, the Chicago Symphony Orchestra in 1989, he asked for and received 11 hours of rehearsal time. Wand subsequently recorded the Brahms Symphony No. 1, part of that first U.S. program, with the Chicago Symphony Orchestra.

The highlights of Wand's late career were his annual guest appearances with the Berlin Philharmonic Orchestra, which he conducted in Schubert's "Unfinished" and "Great" symphonies (1995) and Bruckner's Fifth (1996), Fourth (1998), Ninth (1998), Seventh (1999) and Eighth (2001) symphonies.

Artistic style
As a conductor, Wand was a deep believer in the originality of music, aiming to perform works exactly as annotated. His art was marked by straightforward adherence to the score.

As still a young conductor, a journalist asked him how he'd consider interpreting Beethoven's ninth symphony, more like Arturo Toscanini or rather like Wilhelm Furtwängler. Wand answered laconically: "Like Beethoven".

Repertoire
In his late years, Wand restricted his repertoire almost exclusively to the symphonies of Anton Bruckner (which he had never conducted until he was over 60), Schubert, Brahms, Beethoven and Mozart. Earlier in his career, however, he was a devoted interpreter of the contemporary music of such composers as Frank Martin, György Ligeti, Edgard Varèse, Olivier Messiaen, and initially Bernd Alois Zimmermann as well.

Wand regarded Bruckner as the "most important symphonist after Beethoven". Wand's biographer Wolfgang Seifert wrote that "it is no exaggeration to say that Günter Wand has made an indispensable contribution toward the understanding of Bruckner in our time."

Compositions
Wand also composed music, mostly songs with orchestral accompaniment and music for ballet. One composition was his concertino "Odi et amo", for soprano and chamber orchestra, which Wand wrote for his wife, the soprano Anita Westhoff. Anita Wand (Westhoff) died on 29 December 2009 at Ulmiz (CH), at the age of 89 years.

Awards
During his over 65-year-long career as conductor, Günter Wand received several important prizes, including German Record Award, the German Record Critic's Prize, the Echo Award and twice the internationally significant Diapason d'Or, which he received for his Schubert and Bruckner recordings with the Berlin Philharmonic Orchestra. In 1996 Wand received the rarely awarded Hans von Bülow Medal.

Discography (sel.)

 * With NDR-Sinfonieorchester:
 * Beethoven:
 * Sinfonie Nr. 3 & Leonoren Ouvertüre Nr. 3 CD RD60755 (03/1991)
 * Sinfonien Nr. 5 & 6 CD 09026 61930 2 (10/1993)
 * Sinfonien Nr. 1 & 2 CD 74321 66458 2 (04/2001)
 * Sinfonie Nr.1 & Nr.6 Nr.74321891082(11/2001)
 * Sinfonie Nr.2 & Nr.7 Nr.74321891072(11/2001)
 * Sinfonie Nr.3 & Nr.8 Nr.74321891062(11/2001)
 * Sinfonie Nr.4 & Nr.5 Nr.74321891052(11/2001)
 * Sinfonie Nr.9 Nr.74321891042 (11/2001)
 * Sinfonien Nr. 1-9 74321891092 (11/2001)
 * Sinfonie Nr.4 Nr.74321897172 (01/2002)
 * Brahms:
 * Sinfonie Nr. 1 CD 09026 68889 2 (02/1998)
 * Sinfonien Nr. 2 & 3 CD 09026 68888 2 (02/1998)
 * Sinfonien Nr. 1-4 3CD 09026 63348 2 (01/1999)
 * Sinfonie Nr. 4 CD 09026 63244 2 (01/1999)
 * Sinfonien Nr.1 & Nr.3 Nr.74321891022 (11/2001)
 * Sinfonien Nr.2 & Nr.4 Nr.74321891012 (11/2001)
 * Sinfonien Nr.1-4 Nr.74321891032 (11/2001)
 * Bruckner:
 * Sinfonie Nr. 5 (Originalfassung) CD RD60361 (06/90)
 * Sinfonie Nr. 4 „Romantische“ CD RD60784 (04/1991)
 * Sinfonie Nr. 4 2CD 74321930412
 * Sinfonie Nr. 7 (Originalfassung) CD 09026 61398 2 (03/1993)
 * Sinfonie Nr. 9 (Originalfassung) CD 09026 62650 2 (06/1994)
 * Sinfonie Nr. 8 2CD 09026 68047 2 (04/1995)
 * Sinfonie Nr. 6 (Originalfassung) CD 09026 68452 2 (06/1996)
 * Debussy: Le Martyre de Saint Sébastien; CD 74321 75583 (05/2000)
 * Fortner: Bluthochzeit – Zwischenspiele für Orchester; CD RD60827 (12/1991)
 * Martin: Petite Symphonie concertante;
 * Mozart:
 * Sinfonie Nr.36
 * Sinfonien Nr. 39 & 41 „Jupiter“ CD RD60714 (12/1990)
 * Sinfonie Nr. 40;
 * Posthornserenade Nr.74321897172
 * Mussorgsky: Bilder einer Ausstellung
 * Schubert
 * Sinfonie Nr. 5
 * Sinfonie Nr. 8 „Unvollendete“; CD RD60826 (12/1991)
 * Sinfonie Nr. 9 „Große C-Dur“ CD RD60978 (12/1991)
 * Schumann: Sinfonie Nr. 4
 * Stravinsky
 * Concerto in Es (Dumbarton Oaks);
 * Pulcinella Suite; CD 09026 61190 2 (10/1992)
 * Tchaikovsky
 * Sinfonie Nr. 5 CD 09026 68032 2 (11/1994)
 * Sinfonie Nr. 6 „Pathétique“
 * Webern: 5 Stücke für Orchester, op.10
 * NDR Live-Recordings 1989-1995:
 * Beethoven, Bruckner, Mozart, Tschaikowsky, Schubert 17 CD Box 74321 34162 2 (09/1996)
 * With Kölner Rundfunk-Sinfonieorchester:
 * Bruckner:
 * The 9 Symphonies 10CD 09026639302 (08/1989)
 * Symphony No. 1 (Wiener Fassung) CD 09026639312 (12/1989)
 * Symphony No. 2 CD 09026639322 (12/1989)
 * Symphony No. 3 CD 09026639332 (12/1989)
 * Symphony No. 4 „Romantische“ CD 09026639342 (12/1989)
 * Symphony No. 5 CD 09026639352 (12/1989)
 * Symphony No. 6 CD 09026639362 (12/1989)
 * Symphony No. 7 CD 09026639372 (12/1989)
 * Symphony No. 8 & 9 CD 09026639382 (12/1989)
 * Schubert:
 * The Complete Symphonies 5CD 09026639402 (08/1989)
 * Symphony No. 1 & 2 CD 09026639412
 * Symphony No. 3 & 6 CD 09026639422
 * Symphony No 4 & 8 CD 09026639432
 * Symphony No 5 (Selections from Rosamunde) CD 09026639442
 * Symphony No. 9 CD 09026639452
 * With Berliner Philharmoniker:
 * Bruckner:
 * Sinfonie Nr. 5 (Originalfassung)CD 09026 68503 2 (12/1996)
 * Sinfonie Nr. 4 „Romantische“ (Haas-Fassung) CD 09026 68839 2 (08/1998)
 * Sinfonie Nr. 9 (Originalfassung) CD 74321 63244 2 (08/1999)
 * Sinfonie Nr. 7 CD 74321 68716 2 (10/2000)
 * Sinfonie Nr.8 CD Nr.743218 28662 (11/2001)
 * Schubert:
 * Sinfonie Nr. 8 „Unvollendete“ & 9 „Große C-Dur“; 2CD 09026 68314 2 (08/1995)

Literature

 * Wolfgang Seifert: Günter Wand: so und nicht anders. Gedanken und Erinnerungen. Hoffmann und Campe, Hamburg 1998, ISBN 3-455-11154-8

title: Günter Wand