Living Postcard

The train emerges from the tunnel towards Circular Quay station and the darkness outside the windows is replaced by a long, thin panorama, a horizontal slice of sky and water bracketed by the Harbour Bridge and Opera House. It’s a living postcard, animated by the ferries and the clouds, watched by those waiting on the platform. People lean against the glass barriers to take photos of the harbour, or just gaze out, watching the ever-moving scene in front of them.

I join the throng clogging the top of the steps that lead down to the concourse. I hang back, not in a hurry, and wait until I’m the last to descend. As I walk down, I look above the stairs to where, set high up into the wall, there are ornamental grilles decorated by bronze fish. They have a stranded look to them, a little bit dusty, but with their rainbow sheen still visible.

I always look for them, one of the few decorative features of this station which, since its opening in 1956, has been relentlessly condemned as ugly, interrupting the view of the harbour from the city, and the city from the harbour. The construction of the station and the Cahill Expressway above it was a drawn out and unpopular process. Things came to a head at the 1958 opening of the Cahill Expressway, when despite the premier’s announcement that this was “a striking symbol of Sydney’s growth and maturity”, things did not go as planned.

Sydney Morning Herald, March 25, 1958

If Circular Quay station is maligned, the Cahill Expressway is even more so. The railway line and the road above it forms a thick line that cuts across the view, as if it’s a low, wide belt keeping the city in check. There has often been talk of the expressway’s demolition: in 1994 Prime Minister Paul Keating even offered the NSW state government the funds to remove it. Yet it remains, visually intrusive, loved by no one, but not entirely without charm. A side-effect of maligned places is that people avoid them, which can, sometimes, twist their atmosphere into something unusual and interesting.

The Cahill Walk is a good example of this. To get to it I move quickly along the Circular Quay promenade, past people munching through pancakes at City Extra and passengers coming off the Manly ferry. Details flash up: a man wearing a t-shirt that says “winter is not coming”; the round bronze discs set into the pavement that commemorate famous writers. I step over A.D. Hope, Barry Humphries, and Kenneth Slessor, until I’m at a grove of palm trees hemmed in by concrete, that surround a glass elevator clamped to the side of the railway line and road above.

I press the elevator call button and soon the doors open in front of me, puffing out a cold, air-conditioned breath in welcome. I step inside, the doors seal me in, and the noise of the quay recedes. I’m inside a bubble, ascending, above the tops of the palm trees now, the view of the Harbour Bridge coming clear the higher up the lift rises.

At the top, the doors behind me open and I turn to face the four lanes of traffic on the expressway. A long, concrete walkway extends beside it like a grey ribbon.

Never, in all the times I’ve been up here, has there been many other people here. It’s one day of popularity is New Year’s Eve: a ballot operates for tickets to watch the fireworks from here. At other times, you might very well have it to yourself. This morning there’s almost no one else but me, apart from an occasional runner jogging by. It’s only a slight change of perspective from the Quay below, but has a completely different mood. If it weren’t for the incessant traffic, and the way the path trembles underfoot when heavy vehicles go by, it would be a tranquil, pleasurable place to be, rather than the exposed and sometimes slightly eerie experience it is to walk here.

The traffic speeds by, having just come off the Harbour Bridge. I watch the intent expressions of people behind the wheels of their cars, notice a man on his motorbike singing as he rides along, and feel the path shudder when a demolition truck goes by, the word CHOMP in orange across the front. On the other side is Warrane, the bay dominated by a gargantuan cruise ship with a steaming funnel like a kettle just come off the boil. The poisonous smell of the diesel fuel drifts across. On the front of the cruise ship is a man in overalls, tethered to a railing above, holding a paint roller on a stick, repainting the ship’s nose. The expanse of fresh white paint follows him as he moves slowly along.

Walking up here, alongside the expressway, is to have a feeling of floating mid-air, looking into the thicket of city buildings to one side and the harbour’s expanse on the other.

Below where I am on the Cahill Walk, the crowds of Circular Quay mill and disperse. Up here I’m alone, with traffic and jackhammering and construction noise filling the air as I look towards the building sites on the city’s edge. Behind them are dozens of office buildings, thousands of windows, each framing a view of the harbour. Anyone looking out of them at this moment would be moving their eyes over the same scene as me, watching the harbour, the ferries, the shifting clouds, that familiar scene, slowly changing. 

***

Thank you dear readers for following Mirror Sydney in 2018, a busy year for me, with the book out in the world. It was a delight to meet some of you when I had launches and talks, and I look forward to more in 2019.

 

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Sydney Trades Hall

At the edge of Chinatown is the Sydney Trades Hall, a Victorian-era office building, four storeys high, with an octagonal tower jutting from the corner like a lantern. When it opened in 1895, this area was near the wharves, railyards, and industrial areas on the city’s fringe, areas that employed many of the workers who belonged to the trade unions who had offices inside the building.

On the main staircase there’s a list of the union offices that once were found within Trades Hall. It’s an index of the city’s past occupations, among them bread carters, sailmakers, glass bottle makers, food preservers, Pyrmont Sugar Workers, milk and ice carters. The building would have been a lively place, with all of these offices, a literary institute library, and nightly social activities, concerts and dances and meetings.

Now the building is part-offices, part-museum, after being refurbished in the 2000s. I’ve come on a tour as part of Sydney Open, the annual weekend on which buildings of historical and architectural interest are open to the public. On the ground floor I walk in past an old, wooden elevator with a banner for the Lift Attendant union displayed inside it. There are other such banners hanging in the nearby hallway, for cleaners and for watchmen, and a framed painted list of offices, with a delicate painted hand pointing upstairs.

The building houses objects related to its history: the signs that once hung in the hallways, the banners that unions used in marches and processions, and the certificates and banners used by the unions to signify or reward membership. The large painted banners are ornate and symbolic, decorated with gold leaf.

Their painter was Edgar Whitbread, who worked for decades, well into his 70s, at a small studio in the glass-domed Victoria Arcade. His name can be seen printed modestly at the base of these banners, which were once used in the processions and demonstrations that would bring thousands of people onto the city’s streets. Their detail and meticulous craftsmanship are surprising to the contemporary eye, and we can imagine them held aloft, as the workers they represented marched with them.

It was in the 1960s, the heritage officer leading the tour tells us, when the building was under threat of demolition, that thought was given to whether the banners should be preserved. That they were owes much to the Trades Hall secretary, Lorna Morrison, who advocated for their restoration. The banner had been stored in a part of the building that was at the time opened up as a walkway between the original building and the new Labour Council building behind it, a grey office block with painted advertisements for the on-site broadcaster, 2KY radio, on it.

Other objects on display, he said, were found piled up in the basement during the refurbishment in the 2000s. These objects now tell the story of the building, but also of the world of work, and how Sydney’s workers have shaped the city.


Odd Jobs in the City

In 1950, the Smith’s Weekly newspaper published a series of profiles of city workers titled ‘Men in Odd Jobs’. The first article appeared in July, profiling Mr J.A. Sinclair, who spent his days testing lawn bowls for accuracy. Next readers met a skeleton articulator at the Australian Museum. Then a man who drills holes in buttons: Mr Ern Sheather who confides that “drilling holes in buttons is soothing to the nerves”. In September, under the headline He Frightens Spiders, was the story of an instrument maker who places spider webs in the theodolites used by surveyors for measuring angles.

Reading these articles now is to imagine a city where such obscure pastimes had cause to exist: a man could spend his working days creating bows for ladies shoes, or changing the dates on the stamps used for franking mail. Job satisfaction in these roles was generally high. Mr Desmond Russell found a job that suited him in turning mail bags inside out and, in the final article of the series, in the final edition of Smiths in October 1950, Mr Leslie Stanley, cable joiner, praised the “interesting and absorbing” work he did laying cables underneath the city streets. The job could also be entertaining, as he was able to overhear conversations from the street above through the manholes. The article quotes Mr Stanley:

One day two men were standing outside the Commonwealth Bank in Pitt Street, when one of them dropped his keys down an open grate. He was in a terrible state, and began to wonder how he would carry on his work.

His friend said it would be possible to get police to remove the grate. Just as they began to panic, my mate poked the keys back through the grate with two fingers.

The men stopped talking and gaped at the fingers with the keys dangling. They couldn’t see us below, but we could see them in the daylight.

One man said: ‘Look, a human hand and alive.’ The other snatched the keys with out saying a word and went for his life.

I can imagine this was a story Mr Stanley told often, relishing the description of the fingers poking up through the manhole, working up to the delivery of the “Look, it’s a human hand and alive!” punchline.

Another method of retrieving keys, 1942 (photo National Library of Australia)

There are fourteen “odd jobs” stories in all. Of these, four relate to postal and telephone services. In addition to the Inside-Out-Bag Turner, the man who maintains the machine that produces the dial-tone, the franking-stamp changer, and the man who opens the door of the vault in the Bank of NSW, is the one woman featured in the series, Miss Mary Sprague.

Miss Sprague had the unusual job of reading the time live at the Sydney GPO, which housed the city’s central telephone switchboard. Before the installation of a mechanical ‘speaking clock’ in 1954, the job was done by a group of women who took turns in sitting in front of a clock, reciting the time into a microphone. Miss Mary Sprague explained how the intensity of the task made it difficult to read for more than 20 minutes at a time.

I’d never thought that such a job as time-reading would have been done live, but in the days before digital timekeeping it could be difficult to maintain accurate time on mechanical clocks and watches. When people wanted to check if their watch was correct, they called the service, dialling BO74. Up to 20,000 people would call daily and it was particularly busy around 5pm, as people hoped their watches were running slowly, and the time to leave work had already come.

The article on Mary Sprague was the first of the “odd jobs” series I read. I found it while researching an essay I’ve written for Time and Memory, a new book published by the Museum of Applied Arts and Sciences. A few months after I read the article about Mary Sprague in Smiths Weekly, I was doing a reading at the Paragon Cafe in Katoomba. I mentioned the essay I was writing to Robyn, the cafe owner.

“Wouldn’t you believe it”, I said, “women at the GPO used to read the time live!”

“You’ll have to speak to our friend Joyce,” Robyn said, “she used to do that job.”

Speak to Joyce I did indeed, and you can read my interview with her at Reading the Time with Joyce Thomson, on the museum’s blog. When I spoke to Joyce, who is now in her 80s, she described how it had felt to move to the city, from Katoomba, as a young woman in the late 1940s. The scale of life opened up for her and there were possibilities all around. By reading the time at the GPO she joined the ranks of those in the city doing an unusual job. Now, like most of the jobs that Smiths Weekly reported on in 1950, this job has slipped from public knowledge, long-since having been technologically superseded. But just enough of a trace of it exists, for it to be remembered.


The Blank Tunnel

The arrow points towards the underground passage, urging me to “Keep on Walking”. Ahead of me is a white-walled tunnel, its curved ceiling and unadorned walls making it more resemble one of the hallways from Star Wars than a pedestrian underpass. There are no advertisements on the walls, no graffiti, just a string of round, black ventilation grilles that look like portholes, and two stripes of fluorescent lights along the ceiling.

This is one of my favourite Sydney tunnels. Its starkness is a respite from the visual clutter of the city, as if I’ve slipped into a connecting piece between the present and the past, or some other kind of Sydney. Even at peak hour it’s not a busy thoroughfare. More often that not I walk through it alone, expecting a band of Stormtroopers to come marching out from exit midway along it. But the only action is the few pedestrians heading between Museum train station and the office buildings above.

The Star Wars connection is not as much of a stretch as it could be: the underpass was built in the late 1970s, around the same time as the film was in cinemas. It was part of the Hyde Park Square development of two office towers and an underground arcade and sunken plaza, all connected to Museum station by the tunnel.

I reach the end of the tunnel and it widens out into a shopping arcade. On one side is one of the few remaining ceramic murals by Vladimir Tichy. It is a long wall of textured, bark-like tiles, with sets of vertical bars made from glazed, white bricks, which look like spears of bamboo, or stalactites on the roof of a cave. On one panel is the marker’s mark, carved in relief into the clay: Designed by V. Tichy, 1977.

Tichy is a ceramic sculptor who came to Australia in 1968 from what was then Czechoslavakia. He set up a studio in Parramatta, from where he produced many large-scale ceramic murals for public and office buildings, RSLs, and civic centres. There were once many Tichy murals in the city, but now the only other ones are in the lobby of Macleay College on Foveux Street, and at the entrance to Newton’s Pharmacy on York Street. The rest have been destroyed as 70s buildings are renovated or demolished.

Beyond the mural is the square itself, a sunken plaza between the two buildings. Designed for office workers’ lunches it had clusters of chairs and tables and a big, curved concrete bench you could either side on the inside or outside of. Now most of the square is taken up by a childcare centre, with soft artificial grass and a sandpit.

Once I reach the square I turn back towards the bright, white tunnel. It hadn’t always been so stark. In the 1982 book Subterranean Sydney by Brian and Barbara Kennedy it is described:

            A new sixty-five metre tunnel under Elizabeth Street was opened in 1978 to take pedestrians from the complex to Museum Station. The new tunnel was given a modern-art atmosphere with wide bands of colour. The smooth lining of the tunnel was made of a specially toughened material and was said to be vandal proof.

At first, the white paint seemed to cover the wall panels so well that there was no hint of what colour it must have been before. The white paint extended tightly into the cracks, from floor to ceiling. I stood up close to it, scrutinising its surface, looking for the tiniest flake or chip to reveal the layer behind it. The surface was slightly rough, but uniformly off-white: it gave nothing away. I stepped back and looked around the tunnel, towards the side exit. Here a metal arrow on a pillar gestured obscurely to the right, devoid of any other guiding information.

I looked back to the white walls of the tunnel and saw something I had not yet noticed. Just visible was a slight change in texture, in the shape of a diagonal line. I followed it with my eyes. Near the curve of the ceiling another line intersected it at right angles. Then another line intersected that. I walked slowly along the tunnel, my eyes on the lines, and they came into life, diagonal stripes and squares. All of a sudden I notice a line of scraped marks at the bottom of one of the panels, which revealed slivers of bright green underneath the white coating. The next panel was scraped too, revealing yellow.

As I stood in the white tunnel it flooded into colour in my mind’s eye. Diagonal bands of green and yellow came into bloom. I felt a transformation come over me, too, as if I could, in that moment, see through time. Opening my notebook, I quickly sketched out the lines and shapes.


A Peep at Peapes

To emerge from the tunnel that leads out of Wynyard Station onto George Street is to enter a sonic mess of construction noise. There are bursts of deep, jarring reverberations and the sounds of metal against concrete, as the demolition of the buildings above the station continues.

As the buildings – the Menzies Hotel, and the 1960s office block Thakral House – have been demolished, the walls of the adjacent buildings have come to light for the first time in 50 years. As Thakral House came down, sunrays appeared at the top of the side wall of the building on the north side, Beneficial House. Then a creature, a dog with a bushy tail, inside a red shield. And then, underneath it, the word PEAPES. At first the hoardings were too high to see much of the sign from street level, but as the demolition continued, the full breadth of the Peapes sign was revealed.

Peapes was a men’s clothing and tailoring department store, which operated out of Beneficial House from when the building was erected in 1923, until the close of the business in February 1971. Its advertising emphasised the “lofty and spacious departments, where a leisurely peace reigns”. The showrooms were fitted out in polished maple, with Doric columns supporting the ceiling and a circular light well at the centre. It was an elegant place, in-keeping with the quality of Peapes’ goods, which were stressed to be of the highest degree.

Photo from Flickr: Steve Terrill (cropped)

Peapes’ slogan was “for men AND their sons” (the AND was in upper case, to stress the importance of intergeneration consistency in men’s style) and it was the place to shop if you needed any kind of gentleman’s outfit, from necessities to luxuries: jackets, shirts, hats, shoes, “an unusually smart shirt with tie”, “a distinctive overcoat”, “superior flannel trousers”. Clothes could be bought off the rack or made to measure. Peapes sales representatives also travelled to country towns across Australia to conduct fittings, booking out rooms in hotels, advertising in local papers, for men to come and have their measurements taken for suits.

The store had two tradmarks. The first was the Warrigal – a dingo, Warrigal being the Dharug word for dingo – the one pictured at the top of the wall sign. The second was diarist Samuel Pepys, an ancestor of one the firm’s founders, George Peapes. On the third floor of the department store was the Pepys Room, a common room of sorts, “a room of restful atmosphere…for reading, writing, smoking, or keeping appointments”. The bewigged Samuel Pepys also appeared on the labels of their garments.

Peapes had been operating on George Street since 1866. In 1912, the wealthy businessman W.J. Miles became one of the directors. These days his name may not be a familiar one, but his daughter, Bea, was one of mid-twentieth century Sydney’s most well known characters. Her distinctive figure, in long coat and tennis hat, was a common sight in the city and suburbs, seen climbing in and out of the taxis for which she never paid the fare, or quoting Shakespeare on demand for a fee of sixpence.

The royal blue of the Peapes sign is a bright window into a past Sydney. Thousands of people walk past it daily, and for those who look up and notice it, the texture of the changing city is revealed, its layers and traces. Soon the demolition will be complete. A new building will be constructed, covering over the Peapes name, the sunburst, and the Warrigal dog. But, for this brief moment, it is back in the light.

 With thanks to David Lever for Peapes memories and investigations. 


A Tour of the Sirius Building

Approaching the Sirius building I can see the group I am to join already assembled outside, waiting for the tour. They gather in the forecourt, a brick-paved area with circular garden beds, in which grow banksia trees and jade plants, and a hibiscus flowering with pink blooms. Among the people waiting there moves a tall man wearing a purple shirt. He is handing out flyers, talking with verve as he does so. This is Tao Gofers, the architect who, in 1976, designed the Sirius building, and has been working with the Save Our Sirius group to protect the building from demolition.

The Sirius is one of Sydney’s most iconic buildings, instantly recognisable due to its striking modular design and its prominent position beside the Harbour Bridge. Its stepped shape of concrete blocks and roof gardens with purple funnels rise up alongside the Bridge. It seems almost close enough to be able to reach out from the Harbour Bridge walkway to touch them. At least this is what I imagined as a child, as I, like generations of Sydney residents, wondered what it would be like to live there and explore on the rooftop gardens, looking out over the city.

The Sirius is a building that gives much to the imagination. It’s a people’s building, both because it was designed as social housing and operated successfully as such for four decades, and because it has such a strong physical presence in the cityscape. It’s a building that’s embedded in the city’s collective consciousness, as important and as controversial as it was when it opened in the late 1970s.

Illustration of the Sirius from 1970s Housing Commission brochure, image courtesy of Tao Gofers.

We are taken back to 1976 as Tao Gofers describes the process of designing the Sirius. At that time there had already been demolition of social housing properties and relocation of residents in the area. A condition of lifting the green ban that had been imposed on area by the Builders Labourers Federation was that that there be provisions for the working class community who had been living in the area for generations to remain in The Rocks. Until the Ban was lifted, the government could make no changes to their existing properties in The Rocks, and they were eager for the stalemate to be resolved.

The Sirius was the key factor in the lifting of the green ban. It all happened quickly: there was only 10 days between Gofers first hearing of the project to his presentation to the stakeholders. He describes the scene, the government officials in double-breasted suits, and the Rocks residents “like us”, people in their everyday clothes, who had gathered to see his proposals. He first showed a design for a small development of 14 terrace houses, which was unacceptable to the government. Next he showed a proposal for a 20 storey building with 8 apartments per floor, which was unacceptable to the residents. A third proposal, for a standard tower block of 80 units was also rejected for being aesthetically displeasing. Then Gofers presented the proposal for the Sirius. The design was presented as a compromise between two extremes, but it was the one that Gofers believed in, and the one that came to be built.

Tao Gofers describes the Sirius building planning process.

Sirius was based on The Laurels, an earlier apartment development Gofers had designed in Sans Souci. The model for The Laurels had been made with Revlon eyeshadow boxes, which had the right kind of dimensions for the windows that filled the ends of each concrete module. The Sirius was an expanded version of this design, which combined 1,2,3 and 4 bedroom apartments, as well as apartments specifically designed for the elderly and people with disabilities.

We walk around the building, looking up at the apartments as Tao describes how of the 79 units, 74 have access to a balcony, terrace or roof garden. “If you have just little boxes,” he says “people aren’t going to be happy.” His designs were made with people’s emotional bond to their homes in mind. These were not purely functional spaces, although their simple design made them adaptable to the multi-level site. It included numerous communal areas, including the Heritage Room on the 8th floor, designed as a common area for older residents, and the Phillip Room on the ground floor, with red patterned carpet, wood-panelled walls, and dramatic beams of raw concrete.

The wooden figures that decorate the walls of the Phillip Room.

We cannot even glimpse into the Phillip Room now. The windows are completely blocked off with black plastic, for no other reason but to prevent us looking inside. All we can see is our own reflections moving by. The group is big, around a hundred people. We stand at the back of the building, staring up at the apartment balconies where succulents grow wild and unpruned from the planter boxes. Almost every one of these apartment is empty. The government has been moving residents out since 2014, with the intent to sell the building and have it demolished. Despite the recommendations of its own Heritage Council, heritage listing was refused, and it is this decision Save Our Sirius campaign is working to fight.

 

Accompanied by security guards, we crowd into the foyer, and then go in small groups in the lift up to level 10 for a look inside Myra’s apartment. Myra, who is 90 years old and has lived in this neighbourhood for almost 60 years, has become the face of the Sirius building. Myra is blind, and has no wish to move away from the familiar apartment and area she has been a part of for so long. This morning she is at the front of the building, sitting in the forecourt with a drawing group assembled around her, sketching her on their notepads. Upstairs, groups of people stand in her living room, looking around. It is the homely environment of an elderly person, with its teaspoon collection hanging on the wall, framed photos and knicknacks arranged on the shelves, and a horseshoe hung up in the hallway as a luck charm. The windows fill the entire of the eastern wall and through them is a view across the harbour.

The SOS lights (for Save Our Sirius) in Myra’s bedroom window.

This, Tao says a number of times during the tour, is a sticking point – the idea of people who are not privileged, not wealthy, living with this harbour view. Standing in Myra’s living room, looking out at the clouds moving across the sky and their reflection in the steel-grey water, it is indeed beautiful. No one could deny it, and anyone living with such a scene as part of their daily lives is lucky. But luck and beauty should not be the exclusive province of the wealthy. A city where money and privilege dominates pales even the most glorious view. From its inception the Sirius has been symbolic of the city and the harbour being available to all, and it is even more so now as the majority of its apartments lie empty, and the fight to save it continues.

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Follow the Save Our Sirius campaign here with links to details of future tours and campaign events.


Escalating Change

I’ve been writing Mirror Sydney for long enough that many of the places I have featured have now been demolished, or changed, or transformed. On my train trips across the harbour I have been observing the start of the demolition of the Port Operations Tower in Millers Point. The tower at the top is almost gone now. Once it is fully removed the concrete stem below it will be eaten away by robotic excavators from the top down. Could there be a more sci-fi fate than to be eaten by robots?

port-communications-tower-scaffold

Scaffolding on the tower at the start of demolition

Despite all the city’s changes there are places that remain stubbornly consistent, and of all the different types of city places the stubborn ones are perhaps my favourites. Stubborn places can quickly turn elusive, though, because coming into notice is usually a harbinger of disappearance. Earlier in the year I had been quietly noting that, despite all the reconstruction at Wynyard station, the trip up to York Street required a journey through the 1930s via the steep, wooden escalators.

wynyard-escalators

So it was no surprise when, back in July, there were reports of their potential removal. The arguments in favour of their replacement were more than simply their age. They pose a fire risk, and the wooden slats can be dangerous, as guide dogs’ claws have become stuck in the wooden steps. But as yet the Office of Environment and Heritage are yet to give their final decision, and the escalators remain for now.

This exit from the train station gives you a triple choice: you can either enter the Concourse Bar with its lingerie-clad bar staff, turn off for a trip along the corridor of a spacecraft (the new Wynyard Walk pedestrian tunnel), or climb aboard the wooden escalators. The row of four escalators, divided by shiny, wood panels have always reminded me of furniture, a sideboard, perhaps, or a cabinet, or a piano. This early photo of them, with one of the wells boarded over, looks even more cabinet-like – and with the added bonus of “shadowless lighting”.

shadowless-lighting

Now panels are decorated by thick, round studs, like the heads of giant wooden nails, no doubt to deter people from sliding down what would otherwise be an excellent slippery dip.

In 1932 when the station opened escalators were regarded as much a novelty as a piece of infrastructure, and article after article in newspapers made mention of them as the city’s latest attraction, a “source of almost endless joy” for children. School groups coming from the country to visit Sydney made certain to ride the escalators for a taste of city life. For those unaccustomed, the Broken Hill newspaper the “Barrier Miner”, described the new contraptions thus (please feel free to skip the next paragraph if you know how to use an escalator):

The escalator looks just like an ordinary staircase when it is at rest, but when in motion all that one has to do in order to ascend to the top is to get on the bottom stop, take hold of the rail if desired, and stand quite still and be carried up to the top landing, just as a bucket of ore is carried up on a conveyor belt. At the top the passenger is gently slid on to the solid lauding; but as it seems unlikely at the first glance that the sliding will be as gentle as it really is there is often a bit of a jump by the inexperienced person, though those accustomed to travelling up the machine simply walk straight on as they reach the top.

Even into the 1940s the escalators were still entrancing young visitors.

mullumbimby-boy

It wasn’t just children who found the escalators exciting. A 1932 newspaper article describing an acrimonious failed romance between a 50 year old widow and a 70 year old travelling showman made mention of “a happy time riding on the escalators at Wynyard Station”, before the troubles began.

The trip may only take 48 seconds (or 18 if you are a “hustler”), but this is enough time for romance, thrills and altercations. Keep this in mind if you find yourself in Wynyard and choose to travel the 1930s way.

workingmans