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It's the most famous shopping street in the world, | 0:00:02 | 0:00:04 | |
in the heart of Britain's capital city. | 0:00:04 | 0:00:07 | |
A mile and a half long, | 0:00:07 | 0:00:09 | |
with 30 million visitors each year. | 0:00:09 | 0:00:12 | |
With some of the world's most famous shops... | 0:00:12 | 0:00:14 | |
WHOOPING ..biggest stars... | 0:00:14 | 0:00:16 | |
-Kate Moss! -CHEERING | 0:00:16 | 0:00:17 | |
..and busiest stations. | 0:00:17 | 0:00:19 | |
Sorry, guys! Stand back for me. | 0:00:19 | 0:00:21 | |
What does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:25 | |
Busiest street in the world, so it needs constant attention. | 0:00:25 | 0:00:27 | |
-..seven days a week? -Oi! Clear off! | 0:00:27 | 0:00:30 | |
You're going to be arrested on suspicion of attempted theft. | 0:00:30 | 0:00:33 | |
Are you ready, London? | 0:00:33 | 0:00:35 | |
A street that never sleeps. | 0:00:35 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:41 | |
Oxford Street. | 0:00:42 | 0:00:44 | |
-Coming up... -Back to the pavement! | 0:00:45 | 0:00:47 | |
..anarchy in the bus queue. | 0:00:47 | 0:00:49 | |
No getting on the bus! | 0:00:49 | 0:00:50 | |
-SHOUTING -Get off the bus! | 0:00:50 | 0:00:52 | |
A Tube strike brings chaos to Oxford Street. | 0:00:52 | 0:00:55 | |
It's getting out of hand. More units, please. | 0:00:55 | 0:00:57 | |
It's all change at John Lewis and with the press launch imminent, | 0:00:57 | 0:01:02 | |
the nerves are kicking in. HE INHALES SHARPLY | 0:01:02 | 0:01:04 | |
I'd sooner be in my workshop. | 0:01:04 | 0:01:05 | |
I'm not very used to these sorts of things. | 0:01:05 | 0:01:08 | |
And ice, ice, baby - | 0:01:08 | 0:01:10 | |
London's coolest bar gets a refit. | 0:01:10 | 0:01:14 | |
It's more power and muscles than brain. | 0:01:14 | 0:01:16 | |
To keep Oxford Street as one of the top places to shop in Europe, | 0:01:20 | 0:01:24 | |
the retailers have invested in a team of these, | 0:01:24 | 0:01:27 | |
welcome ambassadors. | 0:01:27 | 0:01:29 | |
They act as walking information points for visitors | 0:01:29 | 0:01:32 | |
and try and deal with anything that might disrupt a shopper's experience. | 0:01:32 | 0:01:37 | |
-It's this way? -That turning there, that's Argyle Street. | 0:01:37 | 0:01:40 | |
And tonight, ambassador Michael is expecting to be busy. | 0:01:40 | 0:01:44 | |
There's a Tube strike on, | 0:01:46 | 0:01:47 | |
bringing London's key transport network to a halt for 48 hours. | 0:01:47 | 0:01:52 | |
It means hundreds of thousands of Oxford Street visitors | 0:01:53 | 0:01:56 | |
and commuters are having to find alternative means of transport home. | 0:01:56 | 0:02:00 | |
The major strain is expected to be taken by the buses, | 0:02:01 | 0:02:05 | |
but with the roads already busier than usual with cars, | 0:02:05 | 0:02:08 | |
cabs and cyclists, it's not going to be easy. | 0:02:08 | 0:02:11 | |
Six, seven buses in a row that are completely packed out. | 0:02:12 | 0:02:15 | |
Even the doors don't shut, look at that. | 0:02:15 | 0:02:18 | |
And as he patrols, the scale of the problem becomes all too clear. | 0:02:18 | 0:02:23 | |
This bus stop serves two key bus routes, | 0:02:23 | 0:02:26 | |
which call at many locations normally served by the Tube. | 0:02:26 | 0:02:29 | |
Crowds here have been getting steadily worse | 0:02:29 | 0:02:32 | |
since rush hour started. | 0:02:32 | 0:02:33 | |
People are trying to get on buses, | 0:02:33 | 0:02:35 | |
but they're too busy for them to get on. | 0:02:35 | 0:02:37 | |
People are waiting for half an hour, up to an hour, | 0:02:37 | 0:02:39 | |
just to get on the bus that they want. | 0:02:39 | 0:02:41 | |
This bus was full to bursting at the previous stop | 0:02:41 | 0:02:44 | |
and the police have been called to try and manage | 0:02:44 | 0:02:47 | |
-people getting on and off. -Hold on, hold on. Oi! | 0:02:47 | 0:02:50 | |
Stop pushing! | 0:02:50 | 0:02:51 | |
CROWD SHOUT OUT | 0:02:51 | 0:02:53 | |
What's that about? He tried to bump the queue. | 0:02:53 | 0:02:56 | |
Michael and the police have their work cut out. | 0:02:56 | 0:02:59 | |
Out! | 0:02:59 | 0:03:00 | |
All move back. | 0:03:00 | 0:03:01 | |
If you're this side of the tape, you should be at the back of the queue. | 0:03:01 | 0:03:04 | |
One person goes past me at a time, right? One person at a time. | 0:03:04 | 0:03:07 | |
Slowly, slowly. Respect for people, mate. | 0:03:07 | 0:03:09 | |
You're not standing here. Back to the queue. | 0:03:09 | 0:03:11 | |
Guys, if you push me again, I'm shutting the doors! | 0:03:11 | 0:03:13 | |
Back to the queue. | 0:03:13 | 0:03:16 | |
There's a steady stream of buses, | 0:03:16 | 0:03:18 | |
but despite the police getting as many people on board as possible, | 0:03:18 | 0:03:21 | |
they hardly make a dent in the crowd numbers. | 0:03:21 | 0:03:24 | |
At 7.30pm, the police sergeant in charge | 0:03:25 | 0:03:28 | |
asks Michael and his team to separate the queue into smaller ones | 0:03:28 | 0:03:31 | |
for different bus routes to help ease the crowd congestion. | 0:03:31 | 0:03:35 | |
If you're looking for the 25, please line up here on the back. | 0:03:35 | 0:03:38 | |
You need to go to that side of the line. | 0:03:38 | 0:03:40 | |
We're not going to let you guys on | 0:03:40 | 0:03:41 | |
unless you're on this line, all right? | 0:03:41 | 0:03:43 | |
But half an hour later, | 0:03:44 | 0:03:46 | |
just as he's succeeded in separating the crowds into two queues, | 0:03:46 | 0:03:49 | |
the police change their mind and ask him to put it back the way it was. | 0:03:49 | 0:03:54 | |
We'll just have to make it one big queue. | 0:03:54 | 0:03:56 | |
Michael has to inform the passengers | 0:03:56 | 0:03:58 | |
they now need to go to the back of the other queue. | 0:03:58 | 0:04:01 | |
They're not happy. | 0:04:01 | 0:04:03 | |
Those people were there, because that's where the bus starts. | 0:04:03 | 0:04:07 | |
-You've asked us... -Madam... | 0:04:07 | 0:04:08 | |
-What did you say to us? -I'm just doing what I've been told. | 0:04:08 | 0:04:11 | |
I didn't know what routes are going where. I've just been told... | 0:04:11 | 0:04:15 | |
-55 is there... -Yeah. -..25 is here and 25 is there. | 0:04:15 | 0:04:18 | |
-Yeah... -So you guys don't know what you're doing, | 0:04:18 | 0:04:21 | |
you don't know how you're helping us now, | 0:04:21 | 0:04:22 | |
you shouldn't have told us what to do at the beginning. | 0:04:22 | 0:04:25 | |
I do apologise. If I was in your situation, I'd be like that as well. | 0:04:27 | 0:04:30 | |
All we're trying to do is help. | 0:04:30 | 0:04:32 | |
With more commuters arriving every minute, | 0:04:35 | 0:04:38 | |
the buses that do pull up simply can't cope. | 0:04:38 | 0:04:41 | |
With the queues and jostling increasing, | 0:04:41 | 0:04:43 | |
things threaten to get out of hand. | 0:04:43 | 0:04:46 | |
What are you doing? | 0:04:46 | 0:04:48 | |
No, you're not pushing in. | 0:04:48 | 0:04:51 | |
He was right down there, he was right down there. | 0:04:51 | 0:04:53 | |
We let the lady through, cos she's got a child. | 0:04:53 | 0:04:56 | |
You told me you were with the lady. | 0:04:56 | 0:04:58 | |
You lied to me. | 0:04:58 | 0:04:59 | |
THEY REMONSTRATE ANGRILY | 0:04:59 | 0:05:02 | |
-Don't touch me! Don't touch me! -There's children! | 0:05:02 | 0:05:04 | |
It's getting out of hand. More units, please. | 0:05:04 | 0:05:07 | |
Later, bus crushes... | 0:05:07 | 0:05:09 | |
Get back on the pavement! | 0:05:09 | 0:05:10 | |
..and bike crashes... | 0:05:10 | 0:05:12 | |
BRAKES SCREECH | 0:05:12 | 0:05:14 | |
Are you OK? | 0:05:14 | 0:05:15 | |
They don't actually look where they are going. | 0:05:15 | 0:05:17 | |
..as things at the Tube strike go from bad to worse. | 0:05:17 | 0:05:20 | |
No pushing, no shoving! | 0:05:20 | 0:05:22 | |
Get back! | 0:05:22 | 0:05:23 | |
There are four giant department stores on Oxford Street | 0:05:30 | 0:05:33 | |
and each one invests millions in their displays and layouts | 0:05:33 | 0:05:36 | |
to help them stand out from the crowd. | 0:05:36 | 0:05:38 | |
It's early evening and John Lewis Oxford Street | 0:05:39 | 0:05:42 | |
is about to play its part. | 0:05:42 | 0:05:44 | |
It's ringing the changes in its homeware department. | 0:05:44 | 0:05:47 | |
The store are working on a cutting-edge new design, | 0:05:49 | 0:05:52 | |
the centrepiece of which will turn the third floor of the building | 0:05:52 | 0:05:55 | |
into a house within the shop. | 0:05:55 | 0:05:57 | |
It's very exciting. The plans look absolutely great, | 0:05:57 | 0:06:00 | |
the whole concept is going to be brand-new with brand-new fixturing | 0:06:00 | 0:06:04 | |
and, really, being the flagship branch, it is just what we need | 0:06:04 | 0:06:08 | |
for our home assortment. | 0:06:08 | 0:06:09 | |
The house within the store will be made up of four rooms, | 0:06:09 | 0:06:12 | |
each one taken over by a different designer | 0:06:12 | 0:06:15 | |
and kitted out with their goods. | 0:06:15 | 0:06:17 | |
One of those rooms is busy taking shape, | 0:06:17 | 0:06:20 | |
300 miles away in deepest Cornwall. | 0:06:20 | 0:06:23 | |
John Lewis has asked furniture maker Tom Raffield | 0:06:27 | 0:06:30 | |
to design one of the four new rooms. | 0:06:30 | 0:06:33 | |
His brief from the store is to create his perfect space. | 0:06:33 | 0:06:37 | |
We are going to be given one of the rooms in the house, | 0:06:37 | 0:06:40 | |
so that's our room there, it's a rectangular room. | 0:06:40 | 0:06:43 | |
It's a very open brief, so yeah, I'd better sort of read it all properly | 0:06:43 | 0:06:46 | |
and get my head around it, cos at the moment it's all quite vague. | 0:06:46 | 0:06:49 | |
Tom's made his name reinventing an ancient form of woodwork | 0:06:49 | 0:06:53 | |
at his workshop in Nanskerris. | 0:06:53 | 0:06:55 | |
Tom steams wood to bend it to make furniture and furnishings. | 0:06:55 | 0:07:00 | |
His technique involves subjecting planks of wood to hot steam. | 0:07:01 | 0:07:05 | |
Each plank is steamed for an hour. | 0:07:06 | 0:07:08 | |
Once out, it will begin to harden in just 60 seconds, | 0:07:08 | 0:07:12 | |
so they need to shape it quickly. | 0:07:12 | 0:07:14 | |
They can't afford any mistakes. | 0:07:14 | 0:07:17 | |
Oh! Oopsie. | 0:07:17 | 0:07:19 | |
-Precious seconds. -Yeah. | 0:07:19 | 0:07:21 | |
With the wood clamped into place, | 0:07:21 | 0:07:22 | |
the team can begin bending it round the mould. | 0:07:22 | 0:07:25 | |
Too little pressure and the wood will cool before it's set into position. | 0:07:25 | 0:07:30 | |
Too much and the wood will snap. | 0:07:30 | 0:07:32 | |
LOUD CREAKING | 0:07:32 | 0:07:35 | |
I always think of it as torturing the wood, | 0:07:35 | 0:07:37 | |
because I feel like that's what we're doing. | 0:07:37 | 0:07:39 | |
Not for the faint-hearted. | 0:07:39 | 0:07:41 | |
You actually get adrenaline just flowing through your body | 0:07:41 | 0:07:44 | |
-as you're bending the wood. -Or anxiety! -Yeah! | 0:07:44 | 0:07:49 | |
Tom's found inspiration for his John Lewis room close to home - | 0:07:50 | 0:07:53 | |
a walk in his woods. | 0:07:53 | 0:07:55 | |
Being here makes me think that it would be so nice | 0:07:55 | 0:07:59 | |
to take a bit of this woodland, and the workshop, but the woodland | 0:07:59 | 0:08:02 | |
to the John Lewis room, because this is where it all started for me. | 0:08:02 | 0:08:05 | |
Oh, hi, Sian, how are you doing? | 0:08:07 | 0:08:09 | |
When do you need to see some sketches? | 0:08:09 | 0:08:11 | |
So probably, yeah, two days. | 0:08:11 | 0:08:13 | |
This is a handmade product. I think perhaps we're such a small business, | 0:08:14 | 0:08:17 | |
so I'm nervous, I suppose anxious | 0:08:17 | 0:08:19 | |
whether it all comes together in time, | 0:08:19 | 0:08:22 | |
cos time's going to be very tight. | 0:08:22 | 0:08:24 | |
Later, Cornwall comes to Oxford Street | 0:08:24 | 0:08:27 | |
as Tom gets to grips with his new room. | 0:08:27 | 0:08:29 | |
But how will it go down with the press? | 0:08:29 | 0:08:32 | |
A bad review would be... | 0:08:32 | 0:08:34 | |
Yeah, it would be awful. | 0:08:34 | 0:08:35 | |
Nestled between Oxford Street and Regent Street is the Icebar, | 0:08:42 | 0:08:47 | |
the only hostelry in London where the entire bar is made of ice. | 0:08:47 | 0:08:51 | |
It's an establishment so cool, | 0:08:51 | 0:08:53 | |
guests are given special clothing | 0:08:53 | 0:08:55 | |
and have to leave after 40 minutes to avoid frostbite. | 0:08:55 | 0:08:58 | |
But unlike wood or steel, | 0:08:59 | 0:09:01 | |
regular wear and tear causes the ice to melt, | 0:09:01 | 0:09:04 | |
so once a year, bar manager Matthieu Bourgogne redesigns | 0:09:04 | 0:09:08 | |
and rebuilds the bar with fresh ice. | 0:09:08 | 0:09:12 | |
And it's that time of year already. | 0:09:12 | 0:09:14 | |
He's shutting the bar for a week to carry out the work, | 0:09:14 | 0:09:17 | |
which must be completed in time for the grand reopening, | 0:09:17 | 0:09:20 | |
to which he's already booked VIP guests. | 0:09:20 | 0:09:24 | |
Over 1,000 booked. That's a lot of people booked in, | 0:09:24 | 0:09:27 | |
that's a lot of people disappointed if we were to be late | 0:09:27 | 0:09:29 | |
and it's a lot of revenue lost. | 0:09:29 | 0:09:31 | |
The pressure is on, there's no doubt about it. | 0:09:31 | 0:09:33 | |
To get things started, at 7am Monday morning, | 0:09:35 | 0:09:38 | |
a crew of Swedish ice engineers have turned up | 0:09:38 | 0:09:41 | |
to begin dismantling the old bar. | 0:09:41 | 0:09:43 | |
This part of the job is more... | 0:09:45 | 0:09:47 | |
..power and muscles than brain. | 0:09:48 | 0:09:50 | |
Jens Ivarsson and his team know their ice. | 0:09:52 | 0:09:54 | |
They built an 80-room hotel entirely from the stuff | 0:09:54 | 0:09:57 | |
in their home town of Jukkasjarvi in northern Sweden | 0:09:57 | 0:10:01 | |
and have since designed and built ice bars around the world. | 0:10:01 | 0:10:05 | |
It's a job few people in the world can do. | 0:10:06 | 0:10:09 | |
They are just a different breed. | 0:10:09 | 0:10:11 | |
They work in here all day with chainsaws. | 0:10:11 | 0:10:13 | |
Moving blocks of ice, it's heavy, hard work. | 0:10:13 | 0:10:16 | |
40 tonnes of ice out, 40 tonnes of ice in, | 0:10:16 | 0:10:19 | |
and make it into a beautiful thing, | 0:10:19 | 0:10:21 | |
a working bar that is also a work of art. | 0:10:21 | 0:10:23 | |
The Swedes are ice pros, but it's a local refrigerated truck firm | 0:10:25 | 0:10:29 | |
that has the job of transporting the ice away. | 0:10:29 | 0:10:32 | |
It's not their usual cargo | 0:10:32 | 0:10:34 | |
and it's proving to be a challenge. | 0:10:34 | 0:10:36 | |
What are you doing?! | 0:10:39 | 0:10:41 | |
It's just too steep for the pump truck to go up with it on. | 0:10:45 | 0:10:49 | |
Heads up! | 0:10:49 | 0:10:50 | |
It's like being hit by a small car. | 0:10:50 | 0:10:54 | |
If you get the tonne of ice over you, you will die. | 0:10:54 | 0:10:56 | |
After six hours of chainsawing, | 0:10:58 | 0:11:00 | |
the bar is an empty shell, | 0:11:00 | 0:11:02 | |
but the tail lift technique is yet to be perfected. | 0:11:02 | 0:11:05 | |
I said before you come off the end! | 0:11:06 | 0:11:09 | |
It's on! | 0:11:10 | 0:11:12 | |
HE GROANS | 0:11:12 | 0:11:13 | |
Now we have about five days, more or less, to build a new one. | 0:11:13 | 0:11:18 | |
The next morning, the team is back | 0:11:22 | 0:11:24 | |
and waiting for a delivery of very special ice. | 0:11:24 | 0:11:28 | |
That's my home village. | 0:11:28 | 0:11:30 | |
548 people living there. | 0:11:30 | 0:11:33 | |
This is the river that we use in here, building the ice. | 0:11:33 | 0:11:36 | |
It has the perfect speed to create clear ice | 0:11:36 | 0:11:40 | |
and also thick ice, | 0:11:40 | 0:11:42 | |
so it's all about the speed of the water | 0:11:42 | 0:11:44 | |
and Jukkasjarvi, we have the perfect speed for it. | 0:11:44 | 0:11:47 | |
Jens reckons his ice is the best in the world, | 0:11:48 | 0:11:51 | |
but it isn't here. | 0:11:51 | 0:11:52 | |
The ice hasn't arrived yet, so, er... | 0:11:53 | 0:11:57 | |
-we're wondering where it is. -No, it's not a good start at all. | 0:11:57 | 0:12:01 | |
We go have breakfast. | 0:12:03 | 0:12:04 | |
Last year, the bar was frozen fruit-themed. | 0:12:06 | 0:12:09 | |
This year is its tenth anniversary and the theme is rock and roll. | 0:12:09 | 0:12:14 | |
The bar, for example, has all these studs. | 0:12:14 | 0:12:17 | |
That's, for me, very rock icon. | 0:12:17 | 0:12:19 | |
Here in this corner you have the drum kit. | 0:12:19 | 0:12:22 | |
Jens is proud of his town's top export. | 0:12:23 | 0:12:26 | |
From the Torne River. | 0:12:26 | 0:12:27 | |
It's definitely the most beautiful and best ice in the world. | 0:12:27 | 0:12:31 | |
Not everyone understands Torne River ice like Jens. | 0:12:31 | 0:12:34 | |
The delivery has finally arrived an hour and a half late, | 0:12:34 | 0:12:38 | |
but it's too cold. | 0:12:38 | 0:12:39 | |
These guys, they don't know that we... | 0:12:41 | 0:12:44 | |
They put the temperature down to minus 25, something... | 0:12:44 | 0:12:49 | |
..cos they want to make sure that it's cold, | 0:12:50 | 0:12:52 | |
and we do not want that. | 0:12:52 | 0:12:54 | |
At that temperature, it's too fragile and could easily crack when carved. | 0:12:54 | 0:12:59 | |
-Turn it off. -Yeah? | 0:12:59 | 0:13:00 | |
Despite being late, even now, they can't start building. | 0:13:00 | 0:13:04 | |
It's very cold, it's very fragile right now. | 0:13:04 | 0:13:07 | |
After letting it rest | 0:13:07 | 0:13:08 | |
at the more manageable minus five degrees at the bar, | 0:13:08 | 0:13:11 | |
the team are finally ready to start building. | 0:13:11 | 0:13:14 | |
Like a puzzle or building with Lego, you just build it up piece by piece. | 0:13:14 | 0:13:19 | |
Over the next five days, | 0:13:21 | 0:13:22 | |
the team work ten hours daily to get the bar together. | 0:13:22 | 0:13:26 | |
By Friday morning, the team are back on track, | 0:13:26 | 0:13:29 | |
but then, disaster strikes. | 0:13:29 | 0:13:31 | |
The bar is basically a huge freezer and it's broken down. | 0:13:33 | 0:13:37 | |
Quite a significant leak coming from the ceiling, | 0:13:37 | 0:13:40 | |
straight on to our brand-new ice. | 0:13:40 | 0:13:41 | |
Later, can the team stop the leak | 0:13:41 | 0:13:44 | |
and build their bar in time for the grand reopening? | 0:13:44 | 0:13:47 | |
Yeah, this is bad. | 0:13:47 | 0:13:48 | |
Hours after it started, the Tube strike is still causing chaos | 0:13:58 | 0:14:01 | |
along the length of Oxford Street. CROWD SHOUT | 0:14:01 | 0:14:04 | |
Welcome ambassador Michael is trying to deal with a fraught situation | 0:14:04 | 0:14:08 | |
at a bus stop. | 0:14:08 | 0:14:09 | |
You guys don't know what you're doing. | 0:14:09 | 0:14:11 | |
You shouldn't have told us what to do at the beginning. | 0:14:11 | 0:14:14 | |
Oxford Street is one of the only shopping streets in the country | 0:14:14 | 0:14:17 | |
to have its own dedicated security team. | 0:14:17 | 0:14:19 | |
And at the west end of the street, | 0:14:20 | 0:14:22 | |
Lewis and Ian from the team are on patrol. | 0:14:22 | 0:14:26 | |
Here observing anyone wandering into the road. | 0:14:26 | 0:14:28 | |
There's scope for them to be hit by vehicles. | 0:14:28 | 0:14:31 | |
Just keeping a general eye on the public, | 0:14:31 | 0:14:33 | |
make sure everyone's OK, really. | 0:14:33 | 0:14:34 | |
Lewis has barely started his day's work | 0:14:34 | 0:14:37 | |
when the busier than usual roads begin to throw up issues | 0:14:37 | 0:14:40 | |
for him to deal with too. | 0:14:40 | 0:14:41 | |
Yeah, received, we'll make our way up there, over. | 0:14:41 | 0:14:44 | |
A little boy on holiday with his family | 0:14:44 | 0:14:46 | |
has been hit and hurt by a cyclist. | 0:14:46 | 0:14:49 | |
Hello, mate! | 0:14:49 | 0:14:50 | |
Have you hurt your hand? | 0:14:50 | 0:14:51 | |
-BOY WAILS -Your head? | 0:14:51 | 0:14:53 | |
-Have you phoned for an ambulance? -Yes. | 0:14:54 | 0:14:57 | |
OK. How long ago? | 0:14:57 | 0:14:59 | |
-Do you speak...? -30 minutes. | 0:14:59 | 0:15:01 | |
-30 minutes ago? -Yes. -Can you put this through as a 999 call? | 0:15:01 | 0:15:04 | |
Say he's four years old, been hit by a cyclist, | 0:15:04 | 0:15:05 | |
got a massive lump on his head, erm, pretty distressed. | 0:15:05 | 0:15:08 | |
SIREN WAILS | 0:15:08 | 0:15:10 | |
-Are you for the little lad? -Yeah. | 0:15:10 | 0:15:12 | |
-These guys here will help you out. -BOY WAILS LOUDLY | 0:15:13 | 0:15:16 | |
SIREN BLURTS | 0:15:16 | 0:15:17 | |
Lewis is still dealing with the family when across the road... | 0:15:17 | 0:15:19 | |
-BRAKES SCREECH, CRASHING -Are you all right, fella? | 0:15:19 | 0:15:22 | |
..a bike's hit a bus. | 0:15:22 | 0:15:24 | |
-Are you OK? -Are you all right? | 0:15:24 | 0:15:25 | |
Yeah? | 0:15:25 | 0:15:27 | |
Swerving to avoid a U-turning taxi, | 0:15:28 | 0:15:31 | |
the cyclist has hit the side of a bus. | 0:15:31 | 0:15:34 | |
The team help the man off the road. | 0:15:34 | 0:15:37 | |
Can you move your arm, yeah? Can you do that? | 0:15:37 | 0:15:39 | |
I just came out to do a U-turn, and the bus was giving me way, | 0:15:39 | 0:15:42 | |
and this cyclist tried to swerve me, | 0:15:42 | 0:15:46 | |
hit me, and went into the bus. | 0:15:46 | 0:15:48 | |
It was quite shocking. | 0:15:48 | 0:15:49 | |
They don't actually look where they are going, that is the problem. | 0:15:49 | 0:15:53 | |
Yeah, I'm amazed he didn't end up | 0:15:53 | 0:15:54 | |
underneath that bus, to be honest. Very lucky. | 0:15:54 | 0:15:57 | |
Well, it shocks you, really, | 0:15:57 | 0:15:59 | |
but that's working on Oxford Street, isn't it? | 0:15:59 | 0:16:03 | |
The bus, taxi and cyclist are sent on their way, | 0:16:04 | 0:16:07 | |
but back at the John Lewis queue, people aren't getting away so fast. | 0:16:07 | 0:16:12 | |
It's now 8.30pm, and the arrival of each new bus brings with it | 0:16:12 | 0:16:16 | |
more pushing and queue jumping. | 0:16:16 | 0:16:18 | |
I can see you pushing. Don't push. Don't push. | 0:16:18 | 0:16:21 | |
I've seen you push. Don't push. | 0:16:21 | 0:16:22 | |
No, I'm here. Ask anybody. | 0:16:22 | 0:16:25 | |
Guys, stop pushing. Calm down. | 0:16:25 | 0:16:26 | |
-One at a time! -I'm waiting this side. | 0:16:26 | 0:16:28 | |
You're on the wrong side of the thing, sir. | 0:16:28 | 0:16:30 | |
I'll wait where I want. That man was pushing me. What? | 0:16:30 | 0:16:33 | |
I hate this. Abusing the people. | 0:16:33 | 0:16:36 | |
-They are not criminals. -No. | 0:16:36 | 0:16:38 | |
We pay for our transport. This is ridiculous. | 0:16:38 | 0:16:40 | |
Whoa-whoa-whoa-whoa-whoa! | 0:16:40 | 0:16:42 | |
Small babies at the front here. Do not push. | 0:16:42 | 0:16:44 | |
Aware of the crush, the police have sent specialist officers | 0:16:44 | 0:16:48 | |
from the Safer Transport Police Team to deal with the flashpoint bus stop. | 0:16:48 | 0:16:53 | |
We're getting there, slowly. | 0:16:53 | 0:16:54 | |
Having come in for flak themselves, | 0:16:54 | 0:16:57 | |
Michael and his team decide they've done as much as they can. | 0:16:57 | 0:17:00 | |
They leave it to the professionals. | 0:17:00 | 0:17:01 | |
-Will you guys still be here? -Oh, no, you can go. | 0:17:01 | 0:17:03 | |
-Is that all right? -Yeah. Yeah. Thank you very much. -Thanks, man. Cheers. | 0:17:03 | 0:17:07 | |
Police urge the crowd to behave calmly. | 0:17:08 | 0:17:11 | |
When the bus arrives, which will be very soon, it only holds | 0:17:11 | 0:17:13 | |
so many people, and there is one door. | 0:17:13 | 0:17:16 | |
If you push, if you scream and you shout, | 0:17:16 | 0:17:19 | |
you will not get on any quicker. | 0:17:19 | 0:17:20 | |
By 9pm, several hundred people are still waiting to get on. | 0:17:20 | 0:17:25 | |
You can see we're here long. We need to get on this one. | 0:17:25 | 0:17:28 | |
Very, very terrible. | 0:17:28 | 0:17:29 | |
We have been waiting more than three hours now. | 0:17:29 | 0:17:32 | |
For some people, it's all become too much. | 0:17:32 | 0:17:35 | |
One at a time, stop pushing. | 0:17:37 | 0:17:39 | |
No pushing, no shoving at the back. | 0:17:39 | 0:17:42 | |
Act like adults and get back. | 0:17:42 | 0:17:44 | |
When the next bus arrives, people take matters into their own hands. | 0:17:44 | 0:17:48 | |
Guys, no getting on the bus... | 0:17:48 | 0:17:50 | |
Get off the bus. | 0:17:50 | 0:17:52 | |
No getting on the bus. | 0:17:52 | 0:17:53 | |
You're all adults over here, start acting like adults! | 0:17:53 | 0:17:56 | |
Don't start. Who says who gets on the bus? It's not you. | 0:17:56 | 0:17:59 | |
You are disorganised. You don't know how to do your job. | 0:17:59 | 0:18:02 | |
People are getting on the back of the bus. The bus is at the front. | 0:18:02 | 0:18:05 | |
The entrance to the bus is at the front. | 0:18:05 | 0:18:07 | |
Guys, listen very carefully! | 0:18:07 | 0:18:10 | |
This bus will not move unless you get back on the pavement. | 0:18:10 | 0:18:13 | |
I will send them empty. | 0:18:13 | 0:18:16 | |
In London, this is what a crush is like. | 0:18:16 | 0:18:18 | |
I am tired and hungry and angry. | 0:18:18 | 0:18:21 | |
Them police are making noise, telling you, "Wait, wait, wait." | 0:18:21 | 0:18:24 | |
What can I do, innit? | 0:18:24 | 0:18:25 | |
Later, as day becomes night, the wait for a bus goes on, | 0:18:28 | 0:18:32 | |
and on, and on. | 0:18:32 | 0:18:34 | |
If you're pushing again, you're not going to get on a bus today, sir. | 0:18:34 | 0:18:38 | |
John Lewis Oxford Street has invested hundreds of thousands of pounds | 0:18:44 | 0:18:48 | |
in a brand-new homewares department. | 0:18:48 | 0:18:51 | |
They've ripped out the old fittings and are replacing them | 0:18:51 | 0:18:53 | |
with an ambitious new design. | 0:18:53 | 0:18:56 | |
They've asked four of their suppliers to each design a room | 0:18:56 | 0:18:58 | |
to form a house within the store, | 0:18:58 | 0:19:02 | |
and on a crisp Saturday morning, Cornish wood-bender Tom Raffield | 0:19:02 | 0:19:06 | |
and his wife and business partner Dani | 0:19:06 | 0:19:09 | |
arrive on Oxford Street to put the finishing touches to their room. | 0:19:09 | 0:19:13 | |
We're really, really anxious to go and have a look at this room. | 0:19:13 | 0:19:16 | |
We've put so much work into it. | 0:19:16 | 0:19:18 | |
Well, it's the culmination of probably, like, | 0:19:18 | 0:19:20 | |
three or four weeks' solid work. | 0:19:20 | 0:19:23 | |
The shop's team have built the basic structure of Tom's design | 0:19:23 | 0:19:26 | |
but he's now got two days to adapt and fit the rest of his plan. | 0:19:26 | 0:19:30 | |
The hoarding separates the shopping public from | 0:19:32 | 0:19:35 | |
the closely guarded new rooms. | 0:19:35 | 0:19:37 | |
In two days' time, | 0:19:37 | 0:19:38 | |
it'll be removed for the official launch of the new department. | 0:19:38 | 0:19:43 | |
We could see our space from a million miles away, | 0:19:43 | 0:19:45 | |
-because this is all the wood that we've sent up from Cornwall. -Yeah. | 0:19:45 | 0:19:49 | |
-It's quite nice to see it's up on the walls already. -It looks good. | 0:19:49 | 0:19:52 | |
-We've got to do quite a bit now, haven't we? -Yeah. | 0:19:52 | 0:19:54 | |
-So we should get to work. -Get cracking. -Yeah, cool. | 0:19:54 | 0:19:57 | |
They get busy with it. | 0:19:59 | 0:20:01 | |
DRILL BUZZES | 0:20:01 | 0:20:04 | |
Just very slightly to your right. | 0:20:04 | 0:20:06 | |
That's it. That's it. You got it? | 0:20:06 | 0:20:08 | |
The room and decorations are designed to show off Tom's lampshades, | 0:20:12 | 0:20:16 | |
which are the main items he sells through John Lewis. | 0:20:16 | 0:20:20 | |
While Tom's busy with his room, | 0:20:20 | 0:20:22 | |
overseeing the rest of the project is head of design Diane Staplehurst. | 0:20:22 | 0:20:27 | |
It's all about the attention to detail. | 0:20:27 | 0:20:30 | |
It just shows that you care about it, I think, | 0:20:30 | 0:20:33 | |
and I do like things quite, sort of, orderly and straight. | 0:20:33 | 0:20:38 | |
Do you think I've got OCD, Matt? | 0:20:38 | 0:20:41 | |
-No. -I haven't, have I? | 0:20:41 | 0:20:42 | |
She's coordinated the designs and designers of all four rooms. | 0:20:44 | 0:20:48 | |
This is, to me, more of an art installation. | 0:20:49 | 0:20:51 | |
But the real test for Diane will be tomorrow, when the cream of Britain's | 0:20:53 | 0:20:57 | |
homeware journalists get their first look at her new department. | 0:20:57 | 0:21:01 | |
Right, let's go. | 0:21:02 | 0:21:04 | |
And next morning, as the team gets ready for the press, | 0:21:15 | 0:21:18 | |
final preparations are being made to the new features. | 0:21:18 | 0:21:22 | |
All the glitches that we were panicking about yesterday | 0:21:22 | 0:21:25 | |
are all sorted, and I'm working on adrenaline at the moment. | 0:21:25 | 0:21:29 | |
Overseeing the press launch is PR manager Sian Jones. | 0:21:29 | 0:21:33 | |
We've worked up until the wire in terms of creating the best | 0:21:33 | 0:21:37 | |
environment possible for the press to arrive in, | 0:21:37 | 0:21:39 | |
so it's just up to us now to really garner | 0:21:39 | 0:21:42 | |
the coverage around what's been an incredible refurb. | 0:21:42 | 0:21:45 | |
Upstairs, the designers are giving their displays the final once-over. | 0:21:45 | 0:21:50 | |
Yeah, they're all looking good. | 0:21:50 | 0:21:52 | |
Some of these ones here need tightening. | 0:21:52 | 0:21:54 | |
I'm nervous, I suppose, cos I don't know who's going to come, | 0:21:54 | 0:21:57 | |
and what their response will be | 0:21:57 | 0:21:58 | |
cos it's very different to everything out there. | 0:21:58 | 0:22:01 | |
I think I'd probably sooner be in my workshop. | 0:22:01 | 0:22:04 | |
I'm not very used to these sorts of things. | 0:22:04 | 0:22:06 | |
With that, and the exhibition in full swing, | 0:22:06 | 0:22:09 | |
Sian can get ready for the toughest challenge of the lot. | 0:22:09 | 0:22:12 | |
-Hi, Isobel. -Yes! I'm alive! | 0:22:12 | 0:22:14 | |
-Ta-da! Ta-da! -Hello. | 0:22:14 | 0:22:17 | |
Isobel McKenzie-Price, | 0:22:17 | 0:22:18 | |
editorial director of Ideal Home magazine, is in the store. | 0:22:18 | 0:22:22 | |
Her magazine is a key publication for the store's target market, | 0:22:22 | 0:22:26 | |
and they're desperate for their new department to get a good review. | 0:22:26 | 0:22:30 | |
We are always conscious that everything new, | 0:22:30 | 0:22:33 | |
everything that we're doing, needs to get her approval, | 0:22:33 | 0:22:37 | |
and then hopefully the public's. | 0:22:37 | 0:22:39 | |
it would be fairly horrible to get a bad review. | 0:22:39 | 0:22:41 | |
So, here are our creative spaces. | 0:22:41 | 0:22:46 | |
Tom, this is Isobel. | 0:22:46 | 0:22:47 | |
OK, so, the brief really was to create your perfect space, | 0:22:47 | 0:22:50 | |
-wasn't it, Tom? -Yeah, that's right. | 0:22:50 | 0:22:53 | |
No, it was brilliant, actually, cos we were given an open brief, | 0:22:53 | 0:22:56 | |
and we just wanted to, really, | 0:22:56 | 0:22:58 | |
not show how the lights could look in a really nice setting, | 0:22:58 | 0:23:01 | |
but just bring a piece of where they're made, | 0:23:01 | 0:23:03 | |
and who they're made by, | 0:23:03 | 0:23:05 | |
and sort of what inspires the creations, to John Lewis. | 0:23:05 | 0:23:10 | |
But is it enough to impress the hardest woman in homeware? | 0:23:10 | 0:23:14 | |
I'm amazed you could do this in the middle of Oxford Street... | 0:23:14 | 0:23:17 | |
-I know, so am I. Yeah. -..so well. | 0:23:17 | 0:23:18 | |
It's fantastic. | 0:23:18 | 0:23:20 | |
'I think she's been wowed, actually,' | 0:23:20 | 0:23:22 | |
which I'm delighted by. | 0:23:22 | 0:23:24 | |
I fell in love with Tom Raffield's Log cabin. I just... | 0:23:24 | 0:23:27 | |
It was like walking into his workshop, and to be able to | 0:23:27 | 0:23:29 | |
do that into a tiny, sort of, 12 foot square space is amazing. | 0:23:29 | 0:23:34 | |
It's been a long journey from Cornwall to the premier | 0:23:34 | 0:23:37 | |
shopping street in Europe, | 0:23:37 | 0:23:39 | |
and for Tom, it's been quite an eye-opener. | 0:23:39 | 0:23:42 | |
Quite an overwhelming morning, really, | 0:23:42 | 0:23:44 | |
but I'm really glad that I've done it. | 0:23:44 | 0:23:46 | |
And John Lewis can cut the red ribbon to successfully open | 0:23:46 | 0:23:49 | |
their new homeware department. CHEERING | 0:23:49 | 0:23:52 | |
It's Saturday morning at the Icebar, | 0:24:01 | 0:24:03 | |
and the build is in full swing. | 0:24:03 | 0:24:05 | |
Jens and his team have been delayed by a series of leaks, | 0:24:05 | 0:24:08 | |
and there's a lot of time to make up before the bar opens later today. | 0:24:08 | 0:24:12 | |
The leaking has continued and, at the moment, | 0:24:14 | 0:24:16 | |
it's eating away at the ice. | 0:24:16 | 0:24:18 | |
The drip tray is full of water again so I don't know what the deal is. | 0:24:18 | 0:24:21 | |
-There has to be a blockage somewhere. -It's not good at all | 0:24:21 | 0:24:24 | |
that it drips, because the water that drips is a little warm as well. | 0:24:24 | 0:24:28 | |
If it continues, then it will kind of dig a hole in the ice. | 0:24:28 | 0:24:32 | |
Yeah, this is bad. | 0:24:32 | 0:24:34 | |
The bar has to last a year. | 0:24:34 | 0:24:36 | |
All the ice team's work will be wasted if their design melts away. | 0:24:36 | 0:24:41 | |
Mathieu has called a plumber, but he doesn't have long to fix the problem. | 0:24:41 | 0:24:45 | |
There's water on both sides. | 0:24:45 | 0:24:48 | |
I can stick my finger down there. There's no ice there, yeah. | 0:24:50 | 0:24:54 | |
-It's got to be a blockage. -It's got to be a blockage down the line. | 0:24:54 | 0:24:58 | |
Despite the leak, the team continue around the plumber, | 0:24:58 | 0:25:01 | |
fixing what damage they can. | 0:25:01 | 0:25:03 | |
They can use tap water as glue to mend breakages. | 0:25:03 | 0:25:06 | |
It's instant glue. | 0:25:06 | 0:25:08 | |
New tip. As good as new. | 0:25:10 | 0:25:12 | |
I've got a feeling the trace heating round the pipe, | 0:25:12 | 0:25:15 | |
that keeps the pipe from freezing up, it's not working. | 0:25:15 | 0:25:18 | |
Eventually, the plumber discovers what the source of the problem is. | 0:25:18 | 0:25:22 | |
A flick of the switch and the pipe heating comes back to life. | 0:25:25 | 0:25:29 | |
The coolant system unblocks and the leaks stops. | 0:25:29 | 0:25:33 | |
It was quite a simple fix once we discovered what the problem was. | 0:25:33 | 0:25:36 | |
Inside, Jens can make the final repair | 0:25:36 | 0:25:39 | |
to the ice immediately below the leak. | 0:25:39 | 0:25:42 | |
I will make the final cut... | 0:25:42 | 0:25:44 | |
for the last time. | 0:25:44 | 0:25:46 | |
And with that, the bar is ready, | 0:25:47 | 0:25:49 | |
just in the nick of time. | 0:25:49 | 0:25:52 | |
The Icehotel crew have built probably the best Icebar | 0:25:52 | 0:25:56 | |
-we've had in ten years. -I can't believe it, really. | 0:25:56 | 0:25:59 | |
THEY CHEER | 0:25:59 | 0:26:02 | |
Fantastic. Happy ten years. | 0:26:02 | 0:26:04 | |
Hours later, the Icebar can show off Jens's new design | 0:26:08 | 0:26:12 | |
and all his team's hard work to the new season's first guests. | 0:26:12 | 0:26:17 | |
Really cold. I don't know how they do it | 0:26:21 | 0:26:23 | |
but they must love living in thermal underwear, is all I can say! | 0:26:23 | 0:26:27 | |
I'm glad to be outside, cos it's a lot warmer, | 0:26:27 | 0:26:29 | |
even though I'm from t'north. | 0:26:29 | 0:26:30 | |
But it were a good laugh. I'd recommend it to anyone. | 0:26:30 | 0:26:34 | |
And so, the coolest bar in London, literally, can open for business. | 0:26:34 | 0:26:38 | |
On a side street by John Lewis, | 0:26:46 | 0:26:49 | |
thousands of frustrated commuters have been queueing from early evening | 0:26:49 | 0:26:53 | |
to try and get their buses home in the face of a major Tube strike. | 0:26:53 | 0:26:57 | |
We're waiting for two, three hours | 0:26:57 | 0:26:59 | |
and we haven't even got into the bus yet. | 0:26:59 | 0:27:02 | |
A thin blue line of police and Oxford Street welcome ambassadors | 0:27:02 | 0:27:05 | |
have been trying to marshal the queues, | 0:27:05 | 0:27:09 | |
but it's not gone well. | 0:27:09 | 0:27:10 | |
SHOUTING | 0:27:10 | 0:27:14 | |
You're all adults here! No getting on to the bus! | 0:27:15 | 0:27:19 | |
As darkness falls, | 0:27:19 | 0:27:21 | |
by 9.30pm, | 0:27:21 | 0:27:23 | |
a workable system seems to have emerged. | 0:27:23 | 0:27:26 | |
Oh, thank you! Goodbye! | 0:27:26 | 0:27:29 | |
But some people are still trying to jump the queues. | 0:27:32 | 0:27:35 | |
Get him out the bus. Get him off the bus. | 0:27:35 | 0:27:39 | |
Get the driver to open the back door. He's pushed in. | 0:27:39 | 0:27:42 | |
Come off the bus, please. Come off the bus. | 0:27:42 | 0:27:44 | |
Sir, you have only been here for 15 minutes. | 0:27:44 | 0:27:48 | |
You've pushed in the queue approximately four times | 0:27:48 | 0:27:51 | |
when I very kindly asked you... | 0:27:51 | 0:27:53 | |
Shall we move out the way, sir? | 0:27:53 | 0:27:55 | |
The police keep going, helping dozens more passengers get their buses, | 0:27:56 | 0:28:00 | |
and finally, just after midnight, the queues begin to die down. | 0:28:00 | 0:28:05 | |
It's been a really long day. Long day. | 0:28:05 | 0:28:08 | |
Tempers flaring. Not ours! | 0:28:08 | 0:28:11 | |
But I think we've done as best as we can, really. | 0:28:11 | 0:28:15 | |
I'm hungry, I haven't had any dinner, so I'm going to go have | 0:28:15 | 0:28:18 | |
dinner, try and make my way home on two or three night buses myself, | 0:28:18 | 0:28:21 | |
hopefully not crowded. So that's the end of it, really. | 0:28:21 | 0:28:24 | |
They head off. Thankfully, by the morning, | 0:28:24 | 0:28:27 | |
the Tubes will be running again. | 0:28:27 | 0:28:29 |