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Station building architecture

Creation of the form

Tarnów (1906): modernist building designed by the station architect E Baudischa.

Kraków Główny (2006): a shopping mall next to the trains.

Several decades were needed to find a formula for railway station architecture that, like churches and town halls, would be easily recognizable in the urban space.

The first station buildings gave no special emphasis to their function, being essentially a variation on the house or office building. So, for example, it is difficult to identify the function of the station building in the original Manchester terminus of the Liverpool and Manchester Railway, or in the two railway stations in Vienna shown below, although they have been given the characteristics of a public building.

Often the earliest station buildings were so modest that the main visible element of the station was the train shed (eg, the first station in Mannheim).

The Vienna Station in Warsaw, Poland (1846), was one of the early, somewhat naive attempts to demonstrate its purpose. An example of a design technique soon to be dubbed architecture parlante, it was shaped so as to resemble a pair of locomotives. The building was, however, a "closed shop". Although there was space between the building and the surrounding streets, there was no architectural motif leading to any large air space penetration into the rooms inside.

Manchester: Liverpool & Manchester Railway station (1830).
Vienna: twin stations Staatsbahnhof (left) and Gloggnitzer Bahnhof (right) from the early 1840s.
Mannheim: the first station building and train shed (1840).

Some early station building design teams tried to develop representative characteristics. Initially, this was by use of traditional architectural symbols, primarily related to the form of a "gate", such as a portico, a triumphal arch or Propylaea. But none of them (except perhaps the triumphal arch) have proved to be particularly suitable for expression of specific railway station functions.

London Euston (1838): portico theme as a stand-alone gateway to the station square.
Huddersfield (Yorks., England) (1850): palladian classicism with a portico.
Stuttgart Central-Bahnhof (1868; right): a travesty of the triumphal arch motif.
Newcastle (England) (1850): a prominent portico.

One of the early ideas was to form the station building porticos to highlight the driveway and enlarge the scale of the dominant element of the facade. This motif is already present in the Newcastle Central station building (1850), then eagerly used in other stations in the UK. It became an even more prominent motif in the twentieth century, shaping the facade of the great railway station Milano Centrale.

In UK stations, where - thanks to constant movement of trains - the exchange of passengers takes place rapidly, the practice is not to have large station buildings. To some extent, the railway hotel buildings (or sometimes railway board offices) serve part of the station's function. These structures do not reveal, however, many features of "railway stations". The one feature that can be found in many of them, worldwide, is a canopy over the driveway, usually made of iron (eg part of the former London Victoria LBSCR station).

The first two images in the following gallery are examples of the use of arcades (shelters) fitted to through station buildings. In their case, the arcade not only accentuates the station's public function, but also the complex's expansive, symmetrical shape.

Augsburg Hauptbahnhof (1843): the iron arcade of one of the oldest surviving station buildings in Germany.
Bologna Centrale (1873): columned arcade to the "Florence" palace.
London Victoria (LBSCR) (1860): arcade from the station to the hotel building.
Bari Centrale (1874): broad facade with cartouche clock.

Among the attributes of the station, it is difficult to identify an element more appropriate than the station clock. It can be placed not only inside the station building, but also as a distinctive feature of the building's facade.

The modest (but smart) facade of Bari Centrale has an arcade and arcaded ground floor as elements determining its function, and a clock is placed on the axis in a decorative cartouche. The station facade in Przemyśl, Galicia (see gallery right), features a similar cartouche clock - but also more clearly emphasizes the large square reception hall, contained in the middle risalit, which features large windows.

In countries not confined to the classical architectural tradition, station building designers soon began to use the theme of the clock tower, taken over from the town hall or church. This theme sometimes served more utilitarian purposes - there were also some water towers. The clock tower become particularly popular at the turn of the twentieth century. Along with a covered driveway, it may be a distinguishing characteristic of railway station buildings. A good example of the use of the clock tower, modelled on the town hall, is the Gdańsk Główny station building in Poland (see photo at right).

St Petersburg, Baltiysky Rail Terminal (1857): a copy of the Paris Gare de l'Est.
Chicago Dearborn (or Polk St.) (1883): a station clock tower as the centre of the composition.
Düsseldorf Hauptbahnhof (1932): the clock tower in the crude style of "Neue Sachlichkeit".

Maturity

Both the latter two examples from the above gallery, as well as the Gdańsk railway station, demonstrate the characteristic features of the station building in a mature railway station architecture. Illustrated are the elevations and the large building volumes, which had both indoor platforms and - increasingly - a reception hall. There are many examples in which the interpenetration of interior and exterior space is thus a guiding principle for identifying the function of stations.

This principle is revealed in the earliest major stations in which train halls were highlighted. The solution was pioneered at Paris Gare de Strasbourg (later called the Gare de l'Est) of 1849. A more modern example, and one readily repeated, is the first permanent station in Munich (demonstrating more universal forms of the Italian Renaissance instead of neo romanticism).

A similarly attractive model was the Lehrter Bahnhof in Berlin, opened in 1871, which used the triumphal arch motif as part of its facade (eg the pattern was repeated at the Budapest Keleti station).

At a later stage of development, ticket halls were introduced. At the important Paris-Nord station, platforms extended inside the hall right up to the facade. In Bremen and Roubaix, a reception hall was created to occupy the whole height of the building - and appropriately it was stressed in the station facade. These stations are also examples of structures that managed to achieve high consistency between the building forms of the reception hall and the platforms. Dichotomy between the platforms and the station building is an issue that is not without difficulties.

Bombay, Victoria Terminus (1894; now Chhatrapati Shivaji Terminus)
Paris-Nord (1861): a great composition in the classic Baroque style, stressing the axis of the main train shed.
Bremen Hauptbahnhof (1885): neo-Romanesque composition, stressing the reception hall.
Roubaix (1887): reception hall as an iron and glass structure (straddling the train shed).

By contrast, British station architecture largely rejected this path of development: buildings that correspond to European trends are very scarce. One of the important stations of the British Empire, the Victoria Terminus in Bombay (now Chhatrapati Shivaji Terminus), is a very impressive neo-Gothic building, crowned by a cupola, a feature often associated with railway architecture. The building also remains completely autonomous from the large hall of the platforms located on the side.

Over time, growing volumes of traffic prompted the construction of the railway stations of increasing scale. More and more stations also satisfied the ambitions of the city, railway boards, and countries whose railways have had to shape an appropriate image of the country.

At the turn of the century, one could even speak of a certain megalomania, manifested in the deliberate use of architectural forms which give large and high spaces, with or without a small association with the great architecture of imperial Rome. Architects building many American Union Stations deliberately alluded to the ancient baths (eg, New York train stations, Union Station in Chicago). In Europe, perhaps the best example of the megalomania of the railway station is Milano Centrale.

New York Pennsylvania Station (1908): the entrance hall (demolished 1968).
Kansas City Union Station (1914): renovated for new uses.
Milano Centrale (designed 1913): European gigantomania.

From the now shunned Stalinist architectural tradition, there were also megalomanic stations in the USSR, which had to meet the objectives of "Socialist Realism." During this period, Stalinist architecture was rooted in historical forms, not adopting trends of modernism.

The clock tower, transformed into a spire topped with a red star, is probably the most characteristic motif of larger Soviet stations. External decoration often tried to portray the traditional national forms, up to the Russian Renaissance. Kharkiv railway station, however, presents an eclectic design linking it with the classical and baroque motifs. The era was closed by the Finlyandsky Rail Terminal in St. Petersburg (completed 1960), which is a mixture of social realism and modernism.

Further west, in Poland, Socialist Realist architecture is represented in Gdynia Główna, amongst others.

Volgograd (formerly Stalingrad).
Kharkiv, Ukraine (1952).
St Petersburg (formerly Leningrad), Finlyandsky Rail Terminal (1960).

Small stations

Provincial stations have been shaped in many ways and have presented themselves in a variety of stylistic forms. Usually, however, the form reflects the popularity of various styles in different countries and eras.

There are many forms of the romantic in Britain, Germany, France, Spain, Italy, referring to the dominant styles of the classical tradition. In all countries with station buildings, there is also resort to local architectural forms.

Stamford (Lincs., Eng; 1846): Tudor style - one of the forms of romantic British railway stations.
Złotów (German:Flatow; Wielkopolska, 1870s): German Romantic style.
Illnau (Switzerland): Alpine style, with a distinctive "Tyrolean" roof (over the goods shed).
Jedlová (Czech Republic): building with arcades typical of the Austro-Hungarian Empire.
Hoorn (Netherlands; 1883): Dutch Neo-mannerism.
Pabianice (1903): Neo-renaissance with "familiar" roof.
Padrón (Galicia, Spain): Neo-renaissance; form typical of many stations in Spain, France, Italy.
Middletown (New York; 1897) characteristic of the U.S. spreading roof, neo-Romanesque style.
Røyken (Norway; 1872?): a simple Scandinavian wooden station building.
Białowieża (Poland; 1897?): wooden building in the Russian tradition.
Overbrook (Philadelphia; 1858, rebuilt 1880s), one of the oldest in America.
Taisha (Japan; 1924): traditional Japanese wooden station.

Other elements of station architecture

Railway station architecture is not just the architecture of the station building. It includes the design of separate platforms and canopies, or the train shed (ie an the overall canopy for the platforms and tracks), if any. Also, shelters can impart the characteristic face of the station and be more than a utilitarian form of construction.

Architects also create railway station towers, and buildings and equipment associated with the movement of trains: control rooms, and even signals, sometimes grouped together on the platforms over the tracks. The continued existence of these objects, especially the control room, is sometimes at risk when traffic safety technologies are updated.

Tynemouth (near Newcastle upon Tyne, England): platforms and canopies.
Crawley (England): signal box
Oldenburg (Germany): water tower.
Würzburg Hbf (Germany): signal gantry.

Rail's decline and its architecture

Competition car and plane in II. Call. Twentieth century pushed the railroad transport positions unattractive, and even anachronistic. In America, where there was a loss of passenger rail, large, recently constructed stations were abandoned (Buffalo Central Michigan Central Station), at best, finding a new use for them is not related to the rail (Reading Philadelphia, St. Louis Union). Rail stops often become inconspicuous barracks located on the periphery and cheap to maintain.

A condition which affected train stations, even where the train continues to function, was the dedication of architectural values for financial gain. In the U.S., Britain, Belgium, Italy, they did save dismantling halls platforms, requiring expensive repair and maintenance. Groundbreaking for the layout of the station was the introduction of electric traction, which enabled przekrywanie complexes of low-lying platform plate (the principle used for the first time in New York's Grand Central Terminal, 1903-1913, in Europe it is an example of the Central Bruxelles-Central/Brussel, 1952, in Poland - The first train from Warsaw Index 1939, after the Warszawa Centralna, 1975). Later it turned out that not only can be dispensed with peronowych halls, but even with the classical buildings receptive to the station area could be fully superstructures earning income structure (the most notorious case is when a Pennsylvania Station in New York). In Osaka it was not initially need the superstructure of platforms (used commercially floor underneath them), built in 1983 while on-site office building reception, which is completely devoid of the characteristics of railway architecture. Theme skyscraper as the station facade was born in the U.S. is true even in the nineteenth century, but became very pupularny our time in Japan. It is interesting that the disappearance of typical architectural forms not accompanied by a station there, drop in the popularity of rail travel. On the contrary, more intensively used land increasingly busy railway.

Regression of railway architecture, understood as a waiver of glory for the "wet behind the ears" simplicity, took place in Europe too, although not everywhere and not on a scale comparable with America. In Britain dokonanywanym mass rail network was accompanied by reductions or massive "rationalize" the same stations. It sometimes meant removing roofing peronowych comprehensive, and sometimes destruction of whole complexes of station. Characteristic was the reduction in line in downtown and build a small station on the new, more peripheral site (eg Bradford Interchange).

Buffalo Central (1930): zamknięty 1979, częściowo używany jako magazyn, częściowo zrujnowany
New York Penn Station: po nadbudowie przekształcony w dworzec podziemny
Durham (Płn. Karolina): współczesny dworzec pociągu Amtrak

In Poland, where the railways have been destroyed since 1990, lack of modernization, just think about the shape of its most popular stations (Katowice, Warszawa Centralna). At the main station in Krakow is not used chance, which was the construction of a neighborhood shopping complex and not created a new reception complex, logically located in close proximity to the platforms.

The search for a new form

In Europe, where the railways continue to function, the emergence of modernist aesthetics and new material, which was reinforced concrete, brought new formal solutions for the railway. Celowały them especially Italy, where he formed an avant-garde works such as new station Santa Maria Novella in Florence (1935) and a new railway station Termini in Rome (1950). Pionierscy in the introduction of reinforced concrete, but less innovative, in terms of form, were the French. We are happy, they resorted to the traditional "language" of architecture around the railway station, clock towers, reinforced concrete building (eg, Brest - 1932, Amiens - 1954), and even the halls of platforms (Reims - 1934, Le Havre Maritime - 1936, Cherbourg Maritime - 1934). Similarly, agriculture has been more conservative stations in Germany. Constructed with reinforced concrete building, there is usually only the reception, halls, and canopies for peronowych leaving traditional steel structure (eg, new Karlsruhe Hauptbahnhof - 1913, the new Hauptbahnhof Stuttgart - 1927, Königsberg Hauptbahnhof [5] - 1929; Beuthen / OS [6] - ~ 1930 ; new Düsseldorf Hauptbahnhof - 1936). In Poland, the concrete example of the new architecture was to be destroyed in 1944, the above-mentioned main railway station Warszawa (1939). Between the modern form, however, was relatively low in Poland. More likely to be built in local style, including a national style "manor house" (eg Żyrardów, Pruszków, the first train Gdynia .) Station Lublin passed while rebuilding after alluding to the style of the Polish Renaissance (20th year).

The period after World War II brought the domination of modernist "international style", which term includes the architecture of simple cubic solids. In comparison to the prewar period was to disseminate important new element is light curtain walls. Disappeared, while references to the classical tradition, still visible in the works before the war, especially in France. A significant trend of modernism have been experimenting with new designs: tarczownicami, paraboloidami, spatial lattice structure. Station Tilburg in the Netherlands can be a rare example of a modernist solution, which on the one hand has an innovative design, on the other hand is a kind of traditional comprehensive platform canopies.

Firenze Santa Maria Novella (1935) - "peron poprzeczny"
München Hauptbahnhof - nowa forma odbudowanego dworca (1960)
Tilburg (1966) - oryginalne zadaszenie peronów

The last two decades of the twentieth century brought fashion back to the architecture of a more expressive, and at least operating with more detail. An extreme example of the 'station' expressionism 'are realizations S. Calatrava arch (eg, Lyon Saint-Exupéry TGV - d. Lyon-Satolas - 1994, Lisboa Oriente - 1998, Liège-Guillemins - planned completion 2008). Unusual forms have been given a biurowcom forms part of a complex station Lille-Europe . Station architecture is introduced in turn motif of the superstructure above the platform hall (1994).

The importance of this period consisted of a reaction to the phenomena of degradation of railway architecture, building the station was to be the characteristic point back in town and, in addition to utilitarian and meet the need for representation. Even the railway superstructure tried to shape the way the compromise partly przekrywając platforms and enriching program reception area (for example, Seoul Station). Although the superstructure of London's Charing Cross (1990) did not bring anything to the same station, but it was accentuated in the urban landscape characteristic lump, referring to the arched hall. Also in Japan can be seen searching for a new expression for the architecture in turn, shows them to include building reception at JR Kyoto Station (which is in fact multi-functional services team.) These trends coincided with the modernization of these railways and improve its social image.

Cergy-St-Christophe (pod Paryżem, 1994) - ekscentryczna architektura z zegarem
London Charing Cross, nadbudowany 1990
Lisboa Oriente (1998) - wnętrze części recepcyjnej dworca umieszczonej pod peronami
Amersfoort (1997) - indywidualne rozwiązanie fasady dworca

Sam breakthrough brought the twentieth and twenty-modernist forms of domination, but as yet not at the expense of scale and architectural quality of the building. Discern in these aesthetics can no longer be in the open in 1991 a new station Wilhelmshöhe Kassel , situated on a high speed line Hannover-Würzburg. Opened in the early twenty-first century, rebuilt stations in Shanghai and Nanjing have a little reception buildings differ from the model developed in the 60th l. (Eg Kurskij wokzał in Moscow), apart from the technological differences. Many railway board uses the simple, austere form of railway modernization programs (eg Austria, Switzerland). Opened in 2006, Berlin Hauptbahnhof , the largest railway was built from scratch in 1945, is an important manifestation of late modernism.

Moskva Kurskaja (1972) - typowy modernistyczny budynek recepcyjny
Seoul (2004) - hall recepcyjny kompleksu dworcowo-usługowego, rozbudowanego wraz z uruchomieniem pociągów wysokich prędkości KTX
Nanjing - późnomodernistyczny budynek recepcyjny z 2005 r.

Nanjing - późnomodernistyczny budynek recepcyjny z 2005 r.
Berlin Hauptbahnhof (2006) - "dworzec wieżowy" o nowatorskiej formie, wykorzystującej m.in. motyw hali peronowej

References

Books

A bibliography of the history and design of railway stations could be very extensive. In almost all countries where there is a railway system, at least one book has been published on the national fusion of architecture around the railway station.

Synthesis of trans-national literature (selection):

Edwards, Brian (1997). The Modern Station: New Approaches to Railway Architecture. London: E & FN Spon. ISBN 0-419-19680-3.
Kubinszky, Mihály (1969). Bahnhöfe Europas. Stuttgart: Franckh'sche Verlagshandlung. (in German)
Meeks, Carroll L.V. (1956). The Railway Station. An Architectural History. New Haven: Yale University Press. (also (1957). London: Architectural Press)
Parissien, Steven (1997). Station to Station. London: Phaidon. ISBN 0-7148-3467-X.
Ross, J (ed) (2000). Railway Stations. Planning, design and management. Oxford: Architectural Press. ISBN 0-7506-4376-5. {{cite book}}: |first= has generic name (help)
Richards, Jeffrey; MacKenzie, John M. (1986). The Railway Station. A Social History. Oxford: Oxford University Press. ISBN 0-19-215876-7.

National and regional synthesis (selection):

Aguilar, Inmaculada; Palacio, Pedro Navascués; Bustamante, Alberto Humanes; et al. (1980). Estaciones Ferroviarias de Madrid. Su arquitectura e incidencia en el desarrollo de la ciudad. Madrid: Colegio Oficial de Arquitectos de Madrid. (in Spanish)
Godoli, E.; Cozzi, M. (eds) (2004). Architettura ferroviaria in Italia. Ottocento. Palermo: Dario Flaccovio Editore. ISBN 88-7758-599-4. {{cite book}}: |first2= has generic name (help) (in Italian)
Godoli, E.; Lima, A. I. (eds) (2004). Architettura ferroviaria in Italia. Novecento. Palermo: Dario Flaccovio Editore. ISBN 88-7758-597-8. {{cite book}}: |first2= has generic name (help) (in Italian)
Berger, Manfred (1980–96). Historische Bahnhofsbauten. Vol. I–IV. Berlin (O): Transpress. ISBN 3-344-00066-7.{{cite book}}: CS1 maint: date format (link) ISBN 3-344-00067-5, ISBN 3-344-00267-8, ISBN 3-344-71029-X (in German)
Biddle, Gordon (1986). Great Railway Stations of Britain. Newton Abbott: David & Charles. ISBN 0-7153-8263-2.
Biddle, Gordon; Nock, O.S.; et al. (1983). The Railway Heritage of Britain. 150 Years of Railway Architecture and Engineering. London: Michael Joseph. ISBN 0-7181-2355-7.
Biddle, Gordon (1973). Victorian Stations. Newton Abbott: David & Charles. ISBN 0-7153-5949-5.
Horváth, Ferenc; Kiss, Zsuzsanna; Kubinszky, Mihály; Vörös, Tibor (1999). The Architecture and the Hungarian Railway. Budapest: MÁV. ISBN 963-03-7927-9. (in Hungarian)
Jackson, Alan A. (1969). London's Termini. Newton Abbott: David & Charles.
Krejčiřík, Mojmír (2003-04). Česká nádraží. Architektura a stavební vývoj. Vol. I–II. Litoměřice: Vydavatelství dopravní literatury. ISBN 80-902706-8-9. {{cite book}}: Check date values in: |year= (help) (in Czech)
Kubinszky, Mihály; Gombár, György (1989). Bahnhöfe in Ungarn 1846-1988. Budapest: MÁV. ISBN 963-316-267-X. (in German)
Lamming, Clive (1999). Paris ferroviaire. Parigramme. ISBN 2-84096-115-6. (in French)
Potter, Janet Greenstein (1996). Great American Railroad Stations. Washington, D.C.: Preservation Press. ISBN 0-471-14389-8.
Romers, Dr H (1981). De Spoorwegarchitektuur in Nederland 1841-1938. Zutphen: De Walburg Pers. ISBN 90-5730-090-7. (in Dutch)
Stutz, Werner (1983). Bahnhöfe der Schweiz. Von den Anfangen bis zum Ersten Weltkrieg. Zürich: OrellFüssli. ISBN 3-280-01405-0. (in German)
杉崎行恭 (Yukiyasu Sugizaki) (2000). 駅舎再発見―時代の姿をとどめる駅舎を訪ねて (Ekisha saihakken. Jidai-no sugata-o todomeru ekisha-o tazunete). Tōkyō: JTB. ISBN 4-533-03675-9. (in Japanese)