The undercroft at London's Southbank Centre, a legendary skate spot, marks its 50th anniversary this year. Since the mid-1970s, the space beneath the Queen Elizabeth Hall has been a haven for skateboarders, evolving into an iconic site for British skate culture. To commemorate the milestone, the Southbank Centre is hosting an exhibition titled Skate 50, featuring archival footage, photography, and films developed with the local skateboarding community.
Shane O'Brien, now in his 60s, first skated there in 1975 at age 10. He recalls a ritual in 1983 when senior skaters launched him into the Thames, after which he was accepted as a regular. 'It's iconic worldwide – it's special to skateboard there,' he says. Neil Ellis, a skater and spokesperson for Skateboard GB, notes that skate spots often develop organically. 'Most people see stairs or a bench, but skateboarders see things we can grind, slide or jump down,' he explains.
The exhibition originated from workshops led by film-maker Winstan Whitter, who brought together generations to document the space's history. Featured artists include film-makers Dan Magee and Jack Brooks, Palace Skateboards founder Lev Tanju, animator Sofia Negri, and sound artist Beatrice Dillon. Cedar Lewisohn, curator of site design at the Southbank Centre, calls his childhood visits 'pilgrimages'. 'Skating opened up a world of visuals, clothing and music for me,' he says.
Skateboarding's roots trace to mid-20th century California, where surfers sought an alternative to wave-dependent surfing. The first skate magazine, The Quarterly Skateboarder, launched in 1964, followed by Thrasher and others. Skate fashion, including Dickies workwear and Vans shoes, entered the mainstream. Director Spike Jonze began his career filming street skate videos, later contributing to the Jackass franchise.
The undercroft's survival is due to relentless campaigning by skaters, who face increasing pressure from development. In 2013, the space was threatened with redevelopment, but skaters successfully fought to preserve it. Lewisohn describes the brutalist architecture as a draw, with a 'spiritual' quality enhanced by its location next to the Thames. 'It's hard to pinpoint why a space designed with no real purpose is such a powerful creative hub,' he says. 'But it is.'
