Mosaic mural at Tangmere House

A mosaic mural by Gülsün Erbil, dating from 1986 to 1987, is located at Tangmere House. The mural, constructed from glass tesserae, covers approximately 100 square metres and is around 5 metres wide, including side returns, and extends over six storeys. It is integrated into the concrete refuse chute that served Tangmere House.

The work, known as Equality–Harmony, explores the theme of reconciliation between races. It employs a musical stave as a unifying element, starting with a treble clef at the top and transitioning into a piano keyboard at the bottom. The musical notes on the stave represent the first line of the carol 'Joy to the World', sometimes considered an alternative title. A spiral motif, significant in Erbil's artistic expression, is incorporated within the treble clef. A rainbow, interpreted variously as a symbol of change, peace, unity, fortune or LGBTQ+ pride, is interwoven with the stave, ending in a white prism on the right-hand return.

The upper section depicts geographical elements, beginning with twin hemispheres representing the western and eastern worlds, with Turkey highlighted in red. Great Britain is outlined in green on a swirling blue background, followed by a depiction of London, bisected by the Thames, and locating Broadwater Farm with a circle. Further imagery shows the estate buildings, including a miniature representation of Tangmere House itself, the distinctive curved boiler house, and the children's play centre’s red triangular structure and swings. Views of the broader estate continue on the right-hand side.

The lower half portrays recreational activities and amenities, including snooker, chess, books from the library, a personal computer, the estate's Shell Theatre, breakdancers and spectators, kettle drums, and a track runner representing the nearby New River Sports Centre. Other symbolic elements include a black figure holding a dove of peace, the moon piercing the sun, and further mystical spirals. At the base, a black and a white hand play the black and white keys of a piano, signifying racial equality and harmony. According to Erbil, these hands symbolize the working class. The refuse chute outlet sits at the level of the piano player’s head.

A later, roofed corridor partially encloses the lower portion of the mural, obscuring a narrow strip as the roof meets the building’s facade.