An iconic design

The red telephone box, a cultural symbol of Britain, was designed by the renowned architect Sir Giles Gilbert Scott, who was also responsible for Liverpool Cathedral. These kiosks, known for their distinctive red color, became a familiar sight across the United Kingdom and its associated territories, despite a decline in numbers in recent years. The red color was chosen to make them easily recognizable.

Design, evolution, and cultural significance

From 1926, the kiosks featured a prominent crown on their fascias, symbolizing the British government. The red telephone box is often seen as an emblem of British culture worldwide. In 2006, the K2 telephone box, one of the early designs, was voted one of Britain’s top 10 design icons. This list included other notable designs such as the Mini, the Supermarine Spitfire, and the London Tube map.

Many of the phone box designs are protected by trademark registrations and copyright, held by British Telecommunications plc. The telephone box has undergone several design changes over the decades, starting from the first standard public telephone kiosk, the K1, introduced by the United Kingdom Post Office in 1921.

The K1 and early designs

The K1, made of concrete, was not initially well-received. Local authorities like the Eastbourne Corporation only allowed them with specific modifications, such as thatched roofs. The K1 did not belong to the same design family as the red telephone boxes that became iconic. Today, only fourteen K1 boxes remain in the UK, with seven of them listed as Grade II by Historic England.

The K2: A landmark design

The red telephone box as we know it emerged from a design competition in 1924 aimed at creating a kiosk suitable for the London Metropolitan Boroughs. The winning design by Sir Giles Gilbert Scott, chosen by the Royal Fine Art Commission, featured a classical style with a dome reminiscent of those designed by John Soane. Scott had been appointed Director of the Sir John Soane Museum around the same time he was working on the telephone box design, leading to speculation that he was inspired by the tomb Soane designed for his wife. However, architectural historian Gavin Stamp disagreed, writing:

"A dome above segmental curves is, in fact, a logical solution to the geometrical problem of designing a sculptural termination to a square pillar when a flat top is not suitable."

The Post Office opted to make Scott's design in cast iron and painted it red, launching the K2 model in 1926. This version was primarily deployed in London, while the earlier K1 continued to be used elsewhere.

The K3 and subsequent models

In 1929, Scott introduced the K3, a similar design to the K2 but made from reinforced concrete for nationwide use. The K3 was cheaper than the K2 but still more expensive than the K1. A rare surviving K3 kiosk can be seen at the London Zoo. The K4 model, designed by the Post Office Engineering Department in 1927, incorporated a post box and stamp vending machines. However, only 50 K4 kiosks were produced due to practical issues like noise disturbance from the machines.

The K5, introduced in 1934, was a metal-faced plywood construction designed to be portable and used at exhibitions. However, it never progressed beyond the prototype stage.

The K6: A national icon

The K6, designed by Scott in 1935 to commemorate the Silver Jubilee of George V, became the most widely used red telephone kiosk. Smaller and more streamlined than the K2, the K6 was deployed extensively outside London, with thousands installed across the UK by 1940. This model featured simplified design elements and improved visibility through a new glazing pattern. Despite initial resistance to its red color, the K6 eventually became a beloved British icon.

The K6’s proliferation can be seen in the numbers: from 19,000 public telephones in 1935 to 35,000 by 1940. The K6’s design was slightly altered over the years, including changes in the crown motif following the accession of Queen Elizabeth II in 1953.

Adoption and repurposing of red telephone boxes

Despite the decline in their original use, many red telephone boxes have found new life through various repurposing initiatives. Organizations can adopt these boxes for other uses, such as community libraries or housing public defibrillators. Over 6,000 red telephone boxes have been converted for such purposes. For example, a K6 in Somerset was turned into a community library after the mobile library service was discontinued.

In 2021, despite the widespread adoption of mobile phones, around 21,000 telephone boxes remained in use, though payphone use had dropped significantly. The UK regulator Ofcom established criteria to protect certain boxes from removal, ensuring they remain in areas with poor mobile coverage or high accident rates.

The global legacy of red telephone boxes

The iconic design of the red telephone box has found a place in various parts of the world, from the United States to Australia and New Zealand, where they have been preserved in historic sites. In some places, like Kingston upon Hull, the boxes were painted cream instead of red and lacked the crown insignia, reflecting the local telephone service's independence from the Post Office.

In modern times, these telephone boxes have even been used as contemporary art installations. For instance, the "Out of Order" sculpture in Kingston upon Thames features a row of twelve K6 telephone boxes toppled like dominoes. Additionally, the 2012 BT Artboxes project saw artists decorating K6 replicas for public display and auction to benefit the charity ChildLine.

The red telephone box remains a beloved symbol of British heritage, thanks in large part to Sir Giles Gilbert Scott's enduring design. While many have been decommissioned or repurposed, their cultural significance endures, both in the UK and internationally. The red telephone box is more than just a functional object; it is a piece of art, history, and national identity that continues to capture the imagination of people worldwide.

Bibliography

Gavin Stamp, Telephone Boxes (Chatto & Windus, 1989), pp.9-10