Question: When did BBC apply for the TARDIS trademark?
About the article "Doctor Who", section "Public consciousness".

Candidate passages:
When "Doctor Who" was being developed in 1963, the production staff discussed what the Doctor's time machine would look like.
To keep the design within budget, it was decided to make it resemble a police telephone box.
This was explained in the context of the series as a disguise created by the ship's "chameleon circuit", a mechanism which is responsible for changing the outside appearance of the ship the millisecond it lands in order to fit in with its environment.
The Ninth Doctor explains that if, for example, a TARDIS (with a working chameleon circuit) were to materialise in ancient Rome it might disguise itself as a statue on a plinth.
The First Doctor explained that if it were to land in the middle of the Indian Mutiny, it might take on the appearance of a howdah (the carrier on the back of an elephant).
A further premise was that the circuit was broken, explaining why it was "stuck" in that form.
The idea for the police-box disguise came from BBC staff writer Anthony Coburn, who rewrote the programme's first episode from a draft by C. E. Webber.
In the first episode, "An Unearthly Child", the TARDIS is first seen in a 1963 junkyard.
It subsequently malfunctions, retaining the police box shape in a prehistoric landscape.
At the time of the series' debut in 1963, the police box was still a common fixture in British cities.
It provided a direct telephone link to the local police station; the telephone was located behind a small, hinged door, making it possible to use it from the outside, while the box itself was used as a temporary office containing a desk.
In "The Empty Child" (2005), the Doctor stated that the telephone is not connected to a telephone line, and in "Logopolis" (1981), the Master materialised his TARDIS around a normal police box while a police officer was using the telephone, causing the line to go dead.
However, in "The Day of the Doctor", the Doctor successfully used the telephone.
The police box prop that was the first to be built for the programme was designed by Peter Brachacki, who worked as designer on the first episode.
Nevertheless, one story has it the box came from "Z Cars", while "Doctor Who" producer Steven Moffat has said that the original TARDIS prop was reused from "Dixon of Dock Green", although this is explicitly contradicted by the research cited on the BBC's own website.
Despite changes in the prop, the TARDIS has become the show's most consistently recognisable visual element.
The dimensions and colour of the TARDIS props used in the series have changed many times, as a result of damage and the needs of the show, and none of the BBC props has been a faithful replica of the original MacKenzie Trench model.
This was referenced on-screen in the episode "Blink" (2007), when the character Detective Inspector Shipton says the TARDIS "isn't a real box.
The phone's just a dummy, and the windows are the wrong size.
"The production team conceived of the TARDIS travelling by dematerialising at one point and rematerialising elsewhere, although sometimes in the series it is shown also to be capable of conventional space travel.
In the 2006 Christmas special, "The Runaway Bride", the Doctor remarks that for a spaceship, the TARDIS does remarkably little flying.
The ability to travel simply by fading into and out of different locations became one of the trademarks of the show, allowing for a great deal of versatility in setting and storytelling without a large expense in special effects.
The distinctive accompanying sound effect – a cyclic wheezing, groaning noise – was originally created in the BBC Radiophonic Workshop by Brian Hodgson.
He produced the effect by dragging a set of house keys along the strings of an old, gutted piano.
The resulting sound was recorded and electronically processed with echo and reverb.
When employed in the series, the sound is usual synchronised with the flashing light on top of the police box, or the fade-in and fade-out effects of a TARDIS (see "Controls" below).
The comic strip feature of "Doctor Who Magazine" traditionally represents the ship's distinctive dematerialisation sound with the onomatopoeic phrase "vworp vworp".
The sound itself was heard during a segment of the 2012 Summer Olympics opening ceremony in London as rock band Queen's Bohemian Rhapsody was played to the stadium.
In 1996, the BBC applied to the UK Patent Office to register the TARDIS as a trademark.
This was challenged by the Metropolitan Police, who felt that they owned the rights to the police box image.
However, the Patent Office found that there was no evidence that the Metropolitan Police – or any other police force – had ever registered the image as a trademark.
In addition, the BBC had been selling merchandise based on the image for over three decades without complaint by the police.
The Patent Office issued a ruling in favour of the BBC in 2002. 
Brachacki was production designer for the very first episode of "Doctor Who", "An Unearthly Child", shot and broadcast in 1963.
Despite the success of his design for the TARDIS interior set, he was not enthusiastic about working on the programme and did so under duress.
He worked only on the very first episode and its re-mount, thereafter being replaced on the opening serial by Barry Newbery and never working on the series again.
Director Waris Hussein recalled in later interviews that he was never happy with Brachacki's contribution and only kept him on as designer out of necessity, as there was not the time to request a replacement.
Brachacki’s concept for the TARDIS interior included:  the sterile, white timeless look  the scattering about of random furniture and objects from different periods  the central hexagonal console, designed so that all controls should be equally accessible to a single pilot  the moving time column, intended to give an at-a-glance indication of the ship's status and whereabouts  the roundels set into the wall, intended to pulsate when the ship was in motion.
(This and other initial concepts were never realised due to budgetary restraints.)
Hussein later noted that the roundel pattern arose simply from the fact that the plastic with which Brachacki had made his initial concept model featured round patterning.
The TARDIS interior saw occasional redesigns over the following twenty-six years, but always in line with the original concept.
The console room was completely redesigned for the show's fourteenth season, but still the concept was retained of the single central console and the roundels on the wall.
This became the default TARDIS design: hence the same concept applied for the brief glimpse of the interior of the Rani's TARDIS in the episode season twenty-two serial The Mark of the Rani.
Similarly the Meddling Monk's TARDIS, and the Master's TARDIS during the Pertwee era, always followed roughly the same design as the Doctor's TARDIS, mostly because these last were obviously the same sets as were used for the Doctor's TARDIS, slightly redressed.
The TARDIS interior was completely redesigned again for the 1996 "Doctor Who" TV movie, and the new series that began broadcasting in 2005.
Even then the central console was retained, and the new television series includes the geometric patterns on the walls.
In 2013 the BBC produced a docudrama called "An Adventure in Space and Time", depicting the creation and early days of "Doctor Who", as part of the programme's fiftieth anniversary celebrations.
Brachacki appears as a character in the drama, played by actor David Annen. 
The BBC science-fiction television series "Doctor Who" features a time machine, the TARDIS, disguised as a Mackenzie Trench-style police box; normally capable of disguising itself to blend into its surroundings, the ship's chameleon circuit broke down in England 1963, and left the TARDIS seen most often in the show stuck as a police box, except for a brief period in one adventure seen in 1985.
"Doctor Who" was originally transmitted from 1963 to 1989; as police boxes were phased out in the 1970s, over time the image of the blue police box became associated as much with "Doctor Who" as with the police.
In 1996, the BBC applied for a trademark to use the blue police box design in merchandising associated with "Doctor Who".
In 1998, the Metropolitan Police filed an objection to the trademark claim, maintaining that they owned the rights to the police box image.
In 2002 the Patent Office ruled in favour of the BBC, arguing out that there was no evidence that the Metropolitan Police—or any other police force—had ever registered the image as a trademark.
In addition, the BBC had been selling merchandise based on the image for over three decades without complaint by the police.
The series was revived in 2005, and the police box continues to feature prominently in almost every episode.
Although the dimensions and colour of the TARDIS used in the series have changed many times, none of the BBC props has been a faithful replica of the original MacKenzie Trench model.
This has been explained within the context of the show that the Chameleon Circuit that facilitates the shape is first, malfunctioning, and second, even working circuits tend to display a bit of "drift" if left in the same setting for too long. 
As one of the most recognisable images connected with "Doctor Who", the TARDIS has appeared on numerous items of merchandise associated with the programme.
TARDIS scale models of various sizes have been manufactured to accompany other "Doctor Who" dolls and action figures, some with sound effects included.
Fan-built full-size models of the police box are also common.
There have been TARDIS-shaped video games, play tents for children, toy boxes, cookie jars, book ends, key chains, and even a police-box-shaped bottle for a TARDIS bubble bath.
The 1993 VHS release of "The Trial of a Time Lord" was contained in a special-edition tin shaped like the TARDIS.
With the 2005 series revival, a variety of TARDIS-shaped merchandise has been produced, including a TARDIS coin box, TARDIS figure toy set, a TARDIS that detects the ring signal from a mobile phone and flashes when an incoming call is detected, TARDIS-shaped wardrobes and DVD cabinets, and a USB hub in the shape of the TARDIS.
The complete 2005 season DVD box set, released in November 2005, was issued in packaging that resembled the TARDIS.
One of the original-model TARDISes used in the television series' production in the 1970s was sold at auction in December 2005 for £10,800. 
TARDISes are bioships that are grown from a species of coral presumably indigenous to Gallifrey, as stated in "The Impossible Planet" (2006), and it can take years to complete one.
They draw their power from several sources, but primarily from the Eye of Harmony, an exploding star in the process of becoming a black hole suspended in a permanent state of decay.
In "The Edge of Destruction" (1964), the power source of the TARDIS (referred to as the "heart of the TARDIS") is said to be beneath the central column of the console.
They are also said to draw power from the entire universe as revealed in the episode "Rise of the Cybermen" (2006), in which the TARDIS is brought to a parallel universe and cannot function without the use of a crystal power source from within the TARDIS, charged by the Doctor's life force.
Other elements needed for the proper functioning of the TARDIS and requiring occasional replenishment include mercury (used in its fluid links), the rare ore Zeiton 7 ("Vengeance on Varos", 1985), a trachoid time crystal ("The Hand of Fear", 1976) and "artron energy".
Artron energy is said to be the "residue of TARDIS engines", and is also found in Time Lord brains and bodies of other time travellers ("The Deadly Assassin", 1976; "Four to Doomsday", 1982; "The Wedding of Sarah Jane Smith", 2009; "Death of the Doctor", 2010; "The Doctor's Wife", 2011; "The Power of Three", 2012).
Another form of energy, "huon energy", is found in the heart of the TARDIS and (apart from the activities of the Torchwood Institute) nowhere else in the universe ("The Runaway Bride").
Before a TARDIS becomes fully functional, it must be primed with the biological imprint of a Time Lord, normally done by simply having a Time Lord operate the TARDIS for the first time.
This imprint comes from the Rassilon Imprimatur, part of the biological make-up of Time Lords, which gives them both a symbiotic link to their TARDISes and the ability to withstand the physical stresses of time travel ("The Two Doctors", 1985).
Without the Imprimatur, molecular disintegration would result; this serves as a safeguard against misuse of time travel even if the TARDIS technology were copied.
Once a time machine is properly primed, however, with the imprint stored on a device called a "briode nebuliser", it can be used safely by any species.
According to Time Lord law, unauthorised use of a TARDIS carries "only one penalty", implied to be death ("The Invasion of Time").
A TARDIS usually travels by dematerialising in one spot, traversing the time vortex, and then rematerialising at its destination, without physically travelling through the intervening space.
However, the Doctor's TARDIS has been seen to be able to fly through physical space, first in "Fury from the Deep" (1968) and at repeated times throughout the revived series, most notably in "The Runaway Bride" (2006), in which the TARDIS is shown launching into space (most previous incidents show the TARDIS flying only after it has dematerialised from a location).
In "The Runaway Bride", extended flight of this nature puts a strain on the TARDIS's systems.
While a TARDIS can materialise inside another, if both TARDISes occupy exactly the same space and time, a Time Ram will occur, resulting in their mutual annihilation ("The Time Monster").
In "Logopolis", the Master tricked the Doctor into materialising his TARDIS around the Master's, creating a dimensionally recursive loop, each TARDIS appearing inside the other's console room.
In the mini-episodes "Space" and "Time" (2011), an accident results in the TARDIS automatically materialising in "the safest spot available", which turns out to be inside its own control room.
Apart from the ability to travel in space and time (and, on occasion, to other dimensions), the most remarkable characteristic of a TARDIS is that its interior is much larger than it appears from the outside.
The explanation is that a TARDIS is "dimensionally transcendental", meaning that its exterior and interior exist in separate dimensions.
In "The Robots of Death" (1977), the Fourth Doctor tried to explain this to his companion Leela, using the analogy of how a larger cube can appear to be able to fit inside a smaller one if the larger cube is farther away, yet immediately accessible at the same time (see Tesseract).
According to the Doctor, transdimensional engineering was "a key Time Lord discovery".
To those unfamiliar with this aspect of a TARDIS, stepping inside the ship for the first time usually results in a reaction of shocked disbelief as they see the interior dimensions ("It's bigger on the inside!").
The Eleventh Doctor is particularly fond of this reaction, and is surprised and confused when Clara Oswald (in "The Snowmen") inverts the usual response by saying "It's smaller on the outside.
"Susan Foreman, the Doctor's granddaughter, claimed to have coined the acronym TARDIS: "I made up from the initials."
The word TARDIS is used to describe other Time Lords' travel capsules as well.
"The Discontinuity Guide," written by Paul Cornell, Keith Topping, and Martin Day, suggests that "[she was a precocious young Time Lady, and her name for travel capsules caught on."
The Virgin New Adventures novel "Lungbarrow" by Marc Platt records Susan telling the First Doctor that she gave him the idea when he was, implicitly, the "Other".
As seen in "The Trial of a Time Lord" (1986), the experiences of the TARDIS and its crew can be recorded and played back from the Matrix, the Time Lord computer network that is the repository of all their knowledge, as well as the memories and experiences of deceased Time Lords.
The Doctor implies in this serial, with his protestations of being "bugged", that the TARDIS is not normally connected to the Matrix in this manner.
The TARDIS has been shown to be incredibly rugged, withstanding gunfire (the 1996 television movie, "Doctor Who"; "The Runaway Bride"), temperatures of 3000 degrees without even scorching ("42"), atmospheric re-entry ("Voyage of the Damned"), falls of several miles ("The Satan Pit") and sinking into pooling acid ("The Almost People").
In "The Curse of Peladon", after the TARDIS falls down the side of a cliff, the Third Doctor remarks that it "may have its faults, but it is indestructible."
This does not apply when facing certain extremely advanced weaponry, often created after the Doctor's Type 40 TARDIS, such as Dalek missiles ("The Parting of the Ways"), for which the TARDIS requires additional shielding.
Another piece of advanced Dalek technology which comes near to destroying the TARDIS is the power source of the "Crucible" in "Journey's End" (2008).
In "Frontios" (1984), the Fifth Doctor believes the TARDIS to have been destroyed in a meteorite bombardment, apparently contradicting the earlier claim of indestructibility.
It explodes in "The Mind Robber" (1968) and the crew end up "out of the time space dimension.
Out of reality.
"In 2007's Christmas special "Voyage of the Damned", the TARDIS is hit in mid-flight, creating a large hole in the interior wall, although its shields are down at the time.
The Doctor later activates some controls and the TARDIS again becomes able to withstand an atmospheric re-entry.
Also in the 2013 episode "The Name of the Doctor" the TARDIS is shown to be able to withstand immense speeds, pressure and heat by being pulled into Trenzalore's atmosphere without any functioning systems.
The only noticeable damage caused was to the exterior of the TARDIS, in which a small crack is shown on the glass.