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AESTHETICS OF IMPRESSIVE MEGA-STATIONS IN EUROPE AND JAPAN

「新しいヨーロッパと日本における大規模駅の景観デザイン」 木戸エバ＊1

Ewa Maria Kido

The paper describes structural art and aesthetics of distinguished large railways stations that have been

built, or are still under development, as a part of the re-urbanization of large cities and the highlights of

“station renaissance” trend. Being developed as the multifunctional transportation hubs and serving high speed

trains, such railway stations have become rail terminals equivalent to air terminals. Three mega-stations –

Berlin Hauptbahnhof, London St Pancras International and Tokyo Station, are the examples of aesthetic buildings

that have qualities of architectural and structural art.

Railway stations are important elements of urbanscape that determine the image of the city. Therefore the

meaning of aesthetic design of railway stations has been already recognized in the past, at the historical European

stations. They were so impressive that once they were compared to gothic cathedrals. However, along with the

development of automobiles, travel by train has become less popular in 50s and 60s and European stations were

very much neglected. But railways as public transportation have many advantages over the cars. Since 1970s, the

improvement of the railway technology was very significant and in 1976 construction of first high-speed trains

(HST) has begun in France. Finally, the first TGV line was opened in 1981 and since then railway station design

has been very much changed. Railway stations connected to other urban transportation modes have become modern,

multifunctional transportation and urban nodes. Such modern stations were possible due to adoption of

sophisticated engineering structures and due to architects’ interest in pursuing new forms.

The paper describes how the aesthetics of stations can be distinguished and evaluated based on the thesis

that station form, like building form, depends on several aesthetic visual and image-based factors. These factors

include perception of space, light, color, scale, and details, as well as image-based elements related to design

context, landmarks features, representation of the image of railways and of the brand of train operators, inclusion

of artistic elements, relation of station design to commercial function and advertisements. There are some

differences in aesthetic approach to station design in Europe and Japan but the effect are in both cases similar

– a birth of a new-generation splendid mega-stations that are beautiful because of their aesthetic forms and

modern structures. Such new mega-stations have become new urban landmarks.

1. INTRODUCTION

A railway station can be defined as a place where trains load or unload passengers and / or goods. Historically

railway stations dealt with goods just as much as passenger traffic but nowadays they are almost solely used

for passengers. A railway station usually consists of a combination of a platform and a station building or shelter,

or only one of either. Usually every station has a platform to allow the passengers to get on and off the train

but smaller station may not have a station building or shelter. In the past, large railway halls for the train

terminals built in major European cities were top achievements among engineering structures that flourished in

19th century. Today, along with “station renaissance”, some of these splendid stations have been modernized

and adapted for HST. Also, the last decade saw a development of impressive new stations that have been built

to respond to the re-urbanization of large cities and the development of the network of high-speed trains.

Being large engineering structures in urbanscape, railway terminals need to have aesthetic qualities and

their structures to satisfy the requirements of structural art. This paper describes these aesthetic qualities

on the example of three mega-stations: Berlin Hauptbahnhof, St Pancras International and Tokyo Station. Berlin

Hauptbahnhof (2006) has been built as a new central station that was completed four years ago. St Pancras

International (2007) is a historical London terminal that has been recently completely renovated, upgraded and

transformed into the Eurostar terminal. Tokyo Station (under development, to be completed in 2013) is also a

historical station that was built in 1914 and currently is undergoing historical renovation and redevelopment

that includes historical building, already completed new high-rise towers, as well as station entrance hall and

station plaza now under construction. These three stations are large urban transportation hubs that except of

railways connect to subways and other transportation modes. These stations are both conventional and HST stations.

St Pancras and Berlin Hauptbahnhof have domestic and international services, while Tokyo Station has only

domestic.

＊1国土文化研究所 Research Center for Sustainable Communities

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2. “STATION RENAISSANCE”

2.1 “STATION RENAISSANCE” IN EUROPE

“Station renaissance” has been a driving force resulting in total improvement of railway stations. It

was initiated for the first time by railway companies in Europe in 1980s, as their response to various challenges

of railway sector and respectively as a result of technological potential of high-speed trains and as a factor

of urban renewal, reflecting growing environmental concern. As Thorne (2001) noted: “It has been commonly observed that railway architecture has been experiencing a “renaissance” since the 1980s” and as a result

station architecture has very much improved. The development of railways was the outcome of technological

advancement of high-speed trains, which made travel by train faster and more convenient. The “renaissance”

has been reflected in station architecture that has very much improved. German Deutsche Bahn Aktien Gesellshaft (DB AG), French Societe Nationale des Chemins de fer Francais (SNCF), Network Rail (NR) in United Kingdom, and other European operators put “renaissance” of stations along with technological improvements of trains and

tracks on the top of their policies. At the current stage of re-urbanization, railway projects of HST stations

and airport stations have been often a part of urban renewal projects. Railway planners have begun to see trains

as a part of broad transportation network. Therefore railway stations have been also conceived as multimodal

hubs, connected with bus stations, LRT, subways, parking lots and pedestrian walkways.

Promotion of railways has included wide range of activities, and polices related not only to construction

of new railway lines and stations but also to station refurbishment. Currently, because of new circumstances

involving multi-modal stations, they must respond to different requirements than before. Today, according to

the concept of “seamless journey”, railway stations include all facilities arranged for ticketing, waiting,

transfer, shopping and even recreation. This new approach has been implemented by railway companies and reflected

in station architecture, that has become structurally, formally and functionally innovative. Railway stations

have been often designed resembling modern air terminals (e.g. Frankfurt Fernbahnhof, 2000; Koln-Bonn Bahnhof,

2003; Lille-Europe, 1994; and London Waterloo, 1994). The scope of “station renaissance” undertaken by European

rail companies included: station renewal and upgrading, construction of new stations conceived as a part of urban

development projects, construction of new stations on new HST lines and new airport stations.

2.1.1 “Station renaissance” in Germany

In Germany, Deutsche Bahn AG, which was privatized in 1994, has been divided into five companies: DB Station & Service AG (in charge of station buildings, platforms, ticket sales, advertisement), DB Netz AG (owner of railway track network), DB Fernvekehr AG (long-distance passenger transport), DB Personenverkehr GmbH (regional passenger transport), and Stinnes AG (freight transport). Later, DB Fernvekehr AG and DB Personenverkehr GmbH were transformed into DB AG Holding, which has been in charge of long-distance and regional passenger transport.

DB Stations & Service, a part of German Railways, which was divided and privatized in 1994, manages passenger

operations and stations. “Station Renaissance” in Germany, which has been based on DB comprehensive station

development program - “Emergency Program” (2002), was established on the assumption that each station is a

“visiting card” of the city or the municipality and responsible for conveying their identity. The program had

had three goals - quality, economy and brand products. The “Emergency program” was mainly related to the

renovation of railway stations, such as modernization and refurbishment of station buildings, concourses and

facilities; adjustment of platforms for high-speed trains; implementation of new corporate design (in graphics,

platform furniture); construction of new urban stations and new HST and airport stations. Among the most successful

projects were renovation and development of Leipzig Hauptbahnhof (1997; Fig.2.1.1/1) and Dresden (2007), and

construction of new Berlin Hauptbahnhof (2007).

The concept of corporate design has been realized through the reliance on aesthetic features, overall unity

and diversity of elements. New railway stations have been designed as unified spaces to fulfill all customers’

needs (Steguweit, 1997). Corporate design approach replaced former non-consistent approach of the various railway

brands using various individual products – with a reliable railway product as a harmonized design for all railway

sections, such as passengers stations (with all their facilities), short-distance, suburban and long-distance

lines and even freight transport and haulage.

Through the concept of “forum station” – a station fulfilling a function of a stage for public life and

an attraction, DB emphasized the importance of offering the customers of aesthetic experience – something that

previously was disregarded. DB, through architecture and interior design provided aesthetic spaces at the station

buildings that are just as essential as the design of railway carriages. DB has expressed its policy’s goal

as “well-being feeling stations”. Because in Germany planning system is decentralized and local authorities

are responsible for planning and due to decentralizations of railways, private initiatives and local communities

have been actively involved into station projects.

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Fig.2.1.1/1 Leipzig Hauptbanhof (2000) Fig.2.1.2/1 Gare du Nord (2001)

2.1.2 “Station Renaissance” in France

In France railways has also gone through the process of restructuring, particularly by splitting-off

infrastructure and operation. There has been a lot of criticism and problems with labor unions about the drawbacks

of the institutional separation between managers and rail operators on one hand and between projects managers

and contactors on the other. The reforms have been implemented parallel to other restructuring models implemented

in Europe in keeping with the EU Directive 91/440/EEC regarding the separation of the infrastructure and operation

and introduction of competition in the operation. The French reforms were however less radical than in Britain

and Germany (Batisse 2003). In France, French Infrastructure Authority RFF (Réseau Ferré de France), which since 1997 has been operating national infrastructure, is responsible for nationwide rail development including

construction of new TGV lines based on plans jointly programmed with SNCF. French Railways SNCF (Sociétié Nationale des Chemins de fer Français) is the only national rail operator for intercity railways, responsible for the creation of the national railway operating schedule, safety, administration and maintenance of infrastructure

based on the agreement with RFF. SNCF has been divided into five main business sectors, such as Long Distance

Passengers GL (Grandes Lignes), Regional passengers TER (Trains Express Régionaux), Paris Regional Passengers (TRANSIILIEN), Freight, and Infrastructure – each of which has its own management, budget and responsibility.

Station Design Office (Agence des Gares) is an organization within SNCF responsible for station planning and design; it collaborates with other organizations from SNCF Group, such as AREP (Batisse 2003).

Since the 1970s, when efficiency was above all, the rationalization of time and space inherent to that period

led to policy of handling traffic flows. The circulation patterns replaced architectural concern. However, since

the 1980s, polices of SNCF turned the works of Station Design Office towards resurrection of stations. According

to that policy, many stations were modernized and among them main terminals in Paris: Gare de’l Est (1988),

Gare d’Austerlitz (1989), Gare Montparnasse (1986-1990), Gare du Nord (1990-2001; Fig.2.1.2/1), Gare de Lyon

(1990-1994) and Gare Saint-Lazare (1996). While station renewal was based on careful studies on historical

architecture, new stations, such as the Lyon Gare de Saint-Exupéry TGV (1994) or Gare Lille-Europe (1994), have

been designed as innovative buildings with expressive, light-weight structure and with an airport terminal-like

image. TGV station such as completed in 2001 Valence, Avignon and Aix-en-Provence on TVG Méditerranée, are examples

of the French approach to station design, which includes uniformity of SNCF brand and originality resulting from

local context.

French National Railways SNCF have expanded their “station renaissance” policies since 1980s, through

strengthened corporate design, vigorous station renewal, introduction of new type of amenity combining

transportation function with city services, such as recreation and retail. SNCF introduced certification for

stations, which comprise of 45 criteria, including aesthetics. New sensitive approach and new design based on

“Station Organization Plan” (POG) (Plan d’Organisation des Gares) – is comprehensive plan for intermodal

transport and commercial development – a process that have been implemented at new and modernized stations.

The aim of this program is to develop special methods related to spatial positioning of transport-related fixtures

and fittings and the pedestrian routes, which as result are defined and integrated into one coherent network.

That program is followed by commercial development plan which determinates the location of commercial facilities.

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2.1.3 “Station Renaissance” in the United Kingdom

In the United Kingdom, like in Germany, national railways have been divided and privatized in 1994.

Infrastructure has been separated from operation and currently, since 2002, Network Rail has owned and managed

railway facilities, while passenger operations have been franchised under the Private Finance Initiative (PFI)

and have been operated by twenty-five operating companies (TOCs). Since privatization, “Station Renaissance”

has been reflected in diversification and expansion of station trading and in new commercial developments in

newly created station spaces. Stations also have been better prepared to match their social context – through

provision of parking lots for cars and bicycles, better accessibility, provision of services in accordance to

local needs, and through better quality of operations, services and design that includes such principles, such

as public involvement, competitions, and aesthetic guidelines.

Network Rail (NR), in order to achieve new station image – safe, configured to seamless process, comfortable

and enjoyable, as well as preserving historical heritage - has promoted new railway station’s goals, such as:

quality (improvement and renewal); operation (balanced services); and access (provision of interchanges,

barriers-free). Polices boosting new image of railway have been reflected in NR guidelines, such as “Developing

modern facilities at stations”, “NR heritage guidance”, “Way finding and signing guidance”, and

“Advertising design strategy”. Implementation of the “Station Renaissance” policies has been reflected in

refurbishment of historical stations, according to major stations renewal program - “Station 2000”, and in

realization of new ones (e.g. Stratford Regional, 1999; Manchester Piccadilly, 2002). Fourteen historical

terminals in London have been modernized in collaboration with TOCs and municipal government, as a part of urban

development projects. Historical terminals have been also modernized to accommodate platforms for high-speed

trains and new facilities, including shopping centers and various kinds of restaurants (e.g., Waterloo

International, 1994; and Paddington, 1999; Fig. 2.1.3/1). Newly constructed and rebuilt railway stations have

shown integration with other public and environmentally benign transportation modes.

Fig.2.1.3/1 Paddington Station (1999) Fig.2.2/1 Ueno Station (2002)

2.2 “STATION RENAISSANCE” IN JAPAN

Railway companies in Japan started to promote “station renaissance” at around 1990s, to attract more

customers by improving railways through better services and attractive appearance of stations. Unlike in Europe,

Japanese private railways are divided by regions, not by operation and infrastructure - therefore they have been

willing to expand their business fields and profit from related businesses.

The scope of “Station Renaissance” has included refurbishment of existing major terminal stations - as an

initiative of privatized JRs and other railway companies as well as planning and construction of new stations

on new lines accompanying the growth of cities, on existing lines - as a response to local needs.

Refurbishment has been based on amenity improvement programs, which from one side enhanced aesthetics through

barrier-free design, inclusion of amenities (new entrances, toilets), better information signs, new facilities,

and commercial developments – and from the other side promoted attractiveness of rail to increase a revenue.

JR East has completed several successful station renewal projects in Great Tokyo, such as Ueno (2002), Shinagawa

(2004), Omiya (2005), Tachikawa (2007), and has been carrying out new development projects at Shinjuku and Tokyo.

Ueno has been a successful project – while preserving historical building, station hall was refurbished, added

glass roof and connected with concourses with food and retail (Fig.2.2/1). Many elements, including art,

emphasizing the location and history have been installed at Ueno Station. Kanazawa Station, which was completely

rebuilt in 1990 and developed with new shopping center in 1991, has boosted its image by a grand Tsuzumi Gate

Motenashi Dome in 2005.

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In Japan have been also built several large railway stations with outstanding architecture, such as Kyoto

(1997), Nagoya (1999), and Kagoshima-Chuo Station (2004). Interesting are some local railways stations as well,

such as Tazawako (1997) on Akita shinkansen, Shinjo (1999), Sakuranbo-Higashine (1999) on Yamagata shinkansen.

They were designed by architects in cooperation with local governments in regard to their location and use.

Hachinohe Station (2002) is rare in Japan because it has station hall and platforms under the same roof and

platforms can be seen from the hall. The are several other successful stations designed by architects, such as

Yabuki (1995), Iwaki-Hanawa (1996), Saitama Shintoshin (2000), Ryuo (2008), Hyuga (2008) and Kochi (2009), as

well as awarded for its design Iwamizawa Station (2009). New stations have been built on newly extended shinkansen

lines, such as recently opened Shin Aomori Station (2010).

3. STRUCTURAL ART AND AESTHETICS OF ARCHITECTURE

3.1 STRUCTURAL ART

Structural art is an art accomplished in the work of structure. Art forms have developed after Industrial

Revolution in late 19 century along with the introduction of new materials – iron, structural steel, reinforced

concrete, prestressed concrete, and later - structural glass, composite timber, other composites and fiber

reinforced plastic. New materials allowed for new structural forms, such tensile structures, shells, grid shells,

space frames, etc. These forms have determined the shape of engineering structures such bridges and buildings.

Billington (1990) has defined three goals of structural art – efficiency, economy, and elegance. These goals

correspond with need of the conservation of environment and accountability of funds while satisfying the need

of aesthetics in public life and preservation of historical monuments. Structural art - as opposed to fine

architecture which seeks the beauty of pleasing shapes independent of the structural skeleton of the building

– is based on engineering structure that is fully visible and aesthetically pleasing in its own right being

the prime source of the beauty of the building.

3.2 AESTHETICS OF ARCHITECTURE

In general, aesthetics means beautiful and showing refined taste objects. Holgate (1992), in his book

“Aesthetics of Built Form”, which gives a valuable insight on the meaning of aesthetics in architectural and

structural design, has discussed various concepts of aesthetics, and developed with the years - various

misunderstandings between architects and engineers, and discrepancies between their ways of view. He found that

aesthetics is relevant to structural design and that utility is important factor of aesthetics of built form.

Also important are other, often omitted qualities, such as mental associations, originality, technical competence,

success in the fulfillment of intentions. Aesthetics is related to many kinds of creativity that can be appreciated.

Structured environment consisting of architectural and engineering objects, designed into particular form to

perform certain function, is one of the environments that are shaped by human creativity. Aesthetic qualities

of built forms including structural art depend upon the design and they can be examined through perception.

The concept of aesthetics is a broad one - not only limited to purely visual qualities based on well-established

principles of formal analysis, such as size, shape, texture, color, etc. - but it also includes more subjective

aspects, such as utility, intentions of designer, visual and mental impressions, context, invention of structural

forms, sense of place, etc. (Holgate, 1992). Aesthetics depends on the relation between form, function and beauty.

These relations have been changing in time along with architectural styles. For engineers, function was always

important because their structures always had an explicit function. Railroad station was invented for travel

and it always had to fulfill a number of purposes, including its main transportation function. Station design

was a completely new task for 19th century engineers, because they had to find for it a new architectural form:

“There was no functional precedent for the [first] depot; every solution had to be invented. The station was an essential part of the system of transportation; it reflected the impact of the technology and mobility of the masses” (Meeks, 1995). In the past, the European and American train depots reflected qualities of

architectural styles, later became more standardized until recent revival, when station buildings have again

become structurally, formally and functionally innovative. Station as a building has to possess similar aesthetic

qualities, to other buildings. In other words, railway stations to be beautiful and impressive need to satisfy

aesthetic requirements.

3.3 AESTHETIC FACTORS OF STATION DESIGN

Aesthetics of railways can be defined as a balance between exterior and interior of station, between building

architecture, engineering structure and transportation function - in consideration of its planning, layout,

details and context. Other station functions need to be sensitively distributed and clearly distinguished from

those purely transportation. Aesthetic station has to be clear, easy approachable and easy to understand, but

at the same time it needs to provide a rich environment. Aesthetic factors of station design include: space,

light, color, scale, and details. There are also image-based elements related to design context, landmarks

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features, representation of the image of subways, as well as the representation of a brand of train operators

and inclusion of artistic elements. Aesthetic factors are also related to distribution of commercial role of

the station and treatment of advertisements.

Space is an essential factor for a station because it must provide a room for many people using it every

day. Station space serves to move through it, to wait, to purchase tickets, to prepare before embarking for a

travel and after arriving at the destination. Appropriate and well-designed space provides security and well-being.

Recently glass is often used in architecture. Glass elevators decrease the feeling of confinement, and as a part

of universal design provide convenient access for physically challenged passengers. Transparency of glass creates

station more spacious and understandable. Well-designed barrier-free space provides feelings of spaciousness,

lightness, security and well-being.

Light is necessary for a station to perform its function. At large stations, where the role of architecture

and structure is paramount, the admission of daylight can increase the expression of structure which can become

a landmark feature. Daylight in daytime is preferable; therefore a provision of glazing increases the possibility

of natural light’s penetration inside the station. Visual connection between platforms and concourses increases

the amount of a daylight passed on the platforms. Admission of daylight through the glass walls highlights their

architectural expression. It also improves the clarity of station layout because passengers can easily notice

distinguished by light entrances and exits.

Artificial lighting is functional as well, and can increase visual expression of the station. Top lights

create secure environment and enhance architectural features of the interior. Lighting has also informative

function – properly lit signs, information posters, stations names, etc., enable passengers to move in right

direction easily and safely. Successful lighting depends on combination of lighting levels and types of lighting

fixtures. Design of lighting may create desirable atmosphere. With most railway stations, the combination of

architecture, light and space can be achieved.

Color can be created by using colorful materials and colorful artificial lighting. Bright colors visually

increase space; warm colors increase the feelings of safety. Colors are also used to express the design concept.

They can be also used as a guiding or safety tool – for example by emphasizing railings or elevators by particular

color. Colors combined with light can be used for aesthetic and functional arrangement at the station, to underline

particular functional elements or show directions.

The factor of scale depends on the size of the station and on how many passengers use it. The scale of station

building determinates also the meaning the station. In case of railways, large European railway terminals, like

London’s St Pancras, Paddington or Victoria, were designed not only to provide adequate space for passengers

but also to impress. Such stations like Gothic cathedrals had many meanings – political, social and urban. Smaller

stations were designed more in relation to human scale. Large underground stations like in Moscow reflected the

power of their builders. The light contributes to the perception of scale – even if the station is small, good

lighting design can make station visually more spacious. Large scale of recent European stations is accompanied

by human-scale elements. These stations respond to different objectives than in the past; they have been built

with spacious spaces designated for various functions connected with a chain of a “seamless journey”.

Details should be designed with particular purpose in mind – to provide direction, information, guidance,

barrier-free access and to fulfill numerous other station functions. Such well coordinated and recognizable

details should be integrated with the structure, space and light, and distinguished by colors and materials.

Also, all the information and details should be readable for visually impaired people and understood by domestic

and foreign travelers. The quality of design at such stations as for example, Berlin Hauptbahnhof, has a big

impact on well-being of passengers and their safety. The aesthetic design at the station helps also to control

flow of passengers – by employing guiding lights at platforms and concourses. If elements like elevators are

colorful and modern, they can be attractive as well. Thus aesthetic design based on the concept involving of

elements, improves the efficiency of station – passengers can leave the platform more quickly and in more

comfortable way, if they are provided with attractive and clear guiding information, escalators and elevators.

Stations are perceived as landmarks, if their image-based elements are strongly related to their urban,

historical, cultural, and social context and if they are harmonized with urban surrounding. Image-based elements

give the station the value of an urban landmark. Historically, main railway stations in Europe were distinguished

by their large form and by a prominent location, since they were often facing the main street and had a plaza

in front of the main entrance.

How the station represents rail companies is reflected in aesthetic design that contains a particular image

of railways. Image-based elements include design expressing the image the railways or the image of train operators.

Image of railways has been for example created through marking station entrances. The company logo, which is

a part of a corporate design concept, has been redefined by many European operators and applied at the station

entrances as an informative, decorative and signature element.

Public art plays a significant role in enhancing image of railways. Railway companies understand the

importance of introducing a design and culture into the stations. Art has become a part of cultural value of

the rail brand design. It has been acknowledged that customers’ satisfaction increases with better designed

stations, with comfortable waiting areas, with clear information signs, and additionally – with public artworks,

cultural and community events and with other activities that can enrich the modern concept of the experience

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of travel. In Europe, some transport agencies have introduced a “percent for the art” policy, based on a fixed

percentage (from 0.5% to about 1%) of all budgets for new developments allocated to the purposes of art. The

issue of the art and design at public transportation has been discussed for the first time at the International

Union of Public Transport (Union Internationale des Transport Publics - UITP) Congress in 2001. In Newcastle, in the effect of collaboration with private sector, the city developed a “percent for art” policy which gives

up to 1% of their annual capital construction program on arts projects. In the course of the program which has

been running for 26 years, at the beginning mostly permanent art works were installed at the stations but later

more often temporary works such as lighting installations and live art events were installed and organized. In

Europe, public art projects are often financed by government; for example the art program run in Brussels is

financed by a government body set up in 1990 by the Public Works Ministry and it is related to artworks at all

transit facilities. In Japan art is also applied at many stations – for example at station halls of renovated

stations, particularly conceived by local artists (like stained-glass artworks at the Ueno Station), and at the

new shinkansen stations.

Distribution of commercial function at the stations and clear arrangement of station space in regard to

its function is the factor of relation between form and function. Along with the process of evolution of railway

stations, more functions have been added, such as retail, hotels, restaurants, leisure, etc. Ross (2000) has

listed forms of retails that include: small shops, small size walk-in units, kiosks often located at the platforms,

trade stands, vending machines, public telephones, auto-teller machines (ATMs), promotional activities and

internet facilities. Intermodal stations became interchanges providing access for air, other rails, bus,

underground and LRT services, and a part of a new urban and commercial center accommodating businesses, hotels,

and shopping centers. Shopping malls and convenience stores have been often installed around stations concourses.

Stations have become transportation nodes offering many attractions and experiences as a part of efforts of

changing railway companies trying to improve their products to reflect their corporate prestige. The development

of many functions at railway stations caused problems with their proper arrangement. In Japan, more functions

have led to confusion at some stations, where the priority was put on commercial facilities over rail travel

activities. Retail is important but secondary function at the railway stations. It attracts passengers and makes

station multifunctional but it also needs to be properly distributed to prevent the station to become a

“department store” or a maze through which passengers cannot easily find their ways. The problem of separation

of transportation and commercial function and at the same time making commercial facilities easily available

is very difficult, particularly at historical stations, which need to be modernized to nowadays standards.

Commercial developments can be designed as “concentrated shopping malls” integrated with public areas

of the station and distinguished from other services for passengers or as “lines of shops” usually developed

in the form of corridors of retail surrounding the main operation areas. If a separate mall approach is impossible,

shops line in the areas bordering the platforms. In Japan at large stations, retail is often located in the main

operational areas (e.g. Ikebukuro Station) filling the station spaces as much as possible. The piecemeal approach

is incoherent, resulting in adverse affect of commercialization of stations. These adverse effects of retail

that may occur at any ill-conceived stations include clutter and congestion, clashing with architectural style

and interior design, and obstruction in passenger operation. When installed at the main concourse, the retail

has to be balanced and to include many kinds of services, such as small shops and restaurants.

Treatment of advertisement reflects approach to aesthetics in public spaces. Currently a wide range of

advertising media is available, such as various kinds of posters – traditional, illuminated, back-lit posters

in illuminated casing, which are often applied at the subway platforms. It also includes moving displays, TV

and plasma displays, messages at the stair cases and along escalators, on the train bodies, inside the trains,

branding the entire stations to one advertiser, various sales and campaigns installations.

The advertisement can be a part of aesthetic design, if it is a part of the design concept. In such design,

it is important to maintain the balance between the size of the station and the amount and sizes of advertisements.

Advertisements should be associated, if possible, with the context of the station environment, may have a reference

to healthy lifestyle products, culture, etc. – to enhance the value of the station image. Particularly sensitively

should be handled the advertisements at historical stations, where they should be well integrated with station

architecture.

In Japan the trend to place many advertisements is stronger than in Europe. It is maybe because the recognition

of aesthetics of public facilities has been weak here since the post-war economic development, followed by the

destruction of landscape since 1970s, when stations displayed lack of architecture, and “despite their public character, station buildings are literally covered with so much commercial advertising that it is often difficult to tell whether they are station facilities or commercial buildings” (Ashihara 1998). Railway stations have

been often virtually covered by advertisements. Even modernized elevation of Shibuya Station, designed by arch.

Kengo Kuma (2003), has been always covered with advertisements.

Currently the implementation of aesthetics is being realized by railway companies - through their policies,

including amenity improvement programs, through new concepts of corporate design, and modern architectural design.

Aesthetic railway stations have been successfully achieved through involvement of well-known architects. There

is always a question of cost of aesthetics. Aesthetics and economy have been often seen, as contradicting each

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other. Since the separation of architectural and engineering professions, some engineers thought that satisfying

of aesthetic requirements involves additional cost. However there are many examples of structures and buildings

being beautiful and economical at the same time. Implementation of aesthetics has been carried out in renewal

projects as well as in new projects of railway station in Europe and Japan. European stations, which have been

more than one hundred years old, were in a need for modernization and refurbishment. Historical European stations

had reputation for design excellence and recent past has seen renaissance of station architecture reflected in

new stations design and in renovation of old ones. Particularly in Europe, renewal of railway stations focused

on enhancement of cultural values and on brand design of particular railway operators. Design features tended

to link stations with local communities through collaboration with local residents, promotion of cultural

activities - organizing various events, concerts and through design competitions, and linking current stations

with rich historical heritage. Also in Japan, railway companies have been making many efforts to advertise its

brand name through attractive stations.

4. MEGA-STATIONS IN EUROPE AND JAPAN

4.1 CHARACTERISTIC FEATURES OF LARGE RAILWAY STATIONS

Nowadays, the railway transportation system of many European cities has been undergoing a process of renewal

accompanied by extensive urban transformation: not simple adaptations of the stations to the new technologies,

but rather real changes in the functional layout of the entire neighborhoods in the vicinity of the railway

buildings (Lami, 2005). Also new stations of bigger size have been under construction in Japan (e.g. Asahikawa

Station). Thus in some cases, the station has become a basic structural element in a city district in a state

of transformation resulting in its progressive integration into the city centre as a completely new structure

(as Berlin Hauptbahnof), or as a developed historical station which has been excluded from the network for many

years (as London’s St Pancras Station), or as a redeveloped historical station which importance and connection

with the city center will be improved (as Tokyo Station).

Regarding aesthetic factors of large stations, they often have exceptional aesthetic qualities and their

size and urban importance requires very careful design approach. Large railway stations are nowadays international

terminals, mainline stations and airport stations. The scale of these stations sets them apart from urban fabric.

Design of such stations is complicated because they are not isolated like airports, but they are located in city

centers and usually surrounded by many buildings. Berlin Hauptbanhof is an exceptional example because it is

located on the area in the middle of the city, which was vacant in the course of history. Such large stations

need to be integrated with different types of public transport (light rail, metro, bus, etc.). At such large

stations, particularly at international stations in Europe, size of their concourses and the diversity of main

and secondary spaces, high ceilings, etc., recall the majesty of medieval cathedrals (Edwards, 1997). Contemporary

mega-stations, such as Lille-Europe, London Waterloo International, Paris Gare de Lyon, Dresden Hauptbanhof,

Kyoto Station, three stations mentioned before and numerous other stations are station-cathedrals of nowadays.

Design of modern large-scale station is characterized by innovative structures and structural rhythm,

considerations given to large space and provision of light.

Structure plays in those buildings important role, beyond just supporting the roof. All structural members

- beams and columns are used to give the meaning to interior spaces, to help in directing the people towards

ticket selling machines and offices and towards platforms, and to give one station a character different from

another. Like medieval cathedrals used the masonry columns to direct movement along the nave, to assert the unity

of interior space and to emphasize the concept of the church, so in modern railway stations structure symbolizes

the contents. Columns, trusses and frames are therefore practical as well as aesthetic elements.

Also lighting has the capacity to guide passengers through complex stations. The power of expression of

natural light has been used at many stations. Where natural light and structural expression are used together,

as for example at Lyon Gare de Saint-Exupéry TGV (designed by Santiago Calatrava, 1994) and London Waterloo

International (designed by Nicholas Grimshaw, 1993), the effect is both uplifting and helpful at a practical

level. The space in modern large station is vast, fluid and it can be disorienting if it is not properly designed.

Stations are filled with shops and stalls therefore they need to be designed to avoid confusion and to satisfy

all functions. It is important that light and structure are designed to aid the intelligibility of space and

route. Structural engineer and architect has to work together to create space that will benefit the passengers.

There are various ways in which this can be achieved. For example, natural light appearing at the center of the

station hall, aids navigation. The exploitation of light and structural arrangement, coupled with deliberate

manipulation of internal volume, results in an interior that is pleasant and safe to use. The most important

quality to be provided in the design of large stations is that of clarity of orientation. Stations similarly

to airports have a linear progression from city to platforms. The concept of land – and train sides (similar

to land – and airside in airports) is well established. It is essential that transparency, structural logic

and clarity, the flow of spaces, and the manipulation of light are collectively used to allow passengers to find

their way from the outside of the station to the inside of the train.

The times in the 60s and 70s have passed, when it is was believed that a building as complex as a railway

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station should be shaped like a factory, an industrial setting, a composition of lines, each of them accommodating

a form of specialized traffic. Nowadays, complexity has become an integral part of the design principles with

which spatial identity is sought, both in the construction of the architectural object, and in the definition

of the relations that are established between the latter and the urban landscape. “It is in Lille that we can discern more clearly the paradox on which modern stations are founded: having indefinite limits and at the same time preserving a strong identity. Trains are connected in an explicit manner to the other modern forms of transport: underground lines, parking areas, buses, tramways, taxis. Each of these converges in the immediate vicinity of the railway platform, giving rise to a multiplication of functional contrasts and paradoxes.” (Lami,

2007).

From architectural point of view, station building should be conceived as an element that promotes the

connection of the two parts of the city that were traditionally divided by railway. For this reason some of modern

stations are transformed in underground through stations. The new underground station comes to the surface through

huge glazed roof lights, conceived as architectural, structural, energy and lighting elements, and through the

half-domes, also glazed, that mark out the main exits, as at the new Stuttgart Hauptbahnhof. However moving railway

underground is a complex intervention. It is justified if it is able to bring about a reorganization of the

infrastructures that achieves a metropolitan impact, as was the case in Stuttgart 21 project (2010-2019), or

if the property is valuable enough to make the process profitable. In the absence of these elements, it is difficult

to advocate the opportunity of moving a station underground. In Japan, as well as in Europe most of modern

large-scale stations are elevated – as in the case of Berlin Hauptbahnhof (which has also underground platforms).

St Pancras is a terminal station and has tracks slightly above the ground level, while Tokyo Station has also

elevated platforms and connecting corridors underground and on the ground level. Thus majority of modern

large-scale stations are combinations of various levels occupying by transportation and other functions.

4.2 EXAMPLES OF SPLENDID MEGA STATIONS

4.2.1 Berlin Hauptbahnhof (2006)

DB AG polices promoting the “renaissance of railway stations”, as a part of marketing initiative aimed

to make rail travel more competitive with automobile, by rehabilitation of adjacent urban areas around modernized

or newly constructed railway stations, coincided the unification of Berlin in 1989. Before new Berlin’s urban

plans were drawn in 1992, the areas around Lehrter Bahnhof (the current location of Hauptbahnhof) were industrial

plants, extensive derelict area and warehouses. New Hauptbahnhof, located at the symbolic capital city center

- opposite the Reistag, the Chancellor’s Office, and Bundestag offices and on the bank of the Spree River, has

been planned as a hub railway station of the Berlin rail network. Currently the station serves as a central transfer

point between high-speed trains (ICE), regional railways, urban railway, subway, buses and tramways. About 300,000

commuters and visitors pass through the station every day. Annually, the station is used by more than 10 mln

passengers (2007).

Design concept of the station has been developed under the strategies of Berlin’s land-use plan and selected

through a competition. The master plan was commissioned by Oswald Mathias Ungers & Partners. The competition

for a building was won by entry of Meinhard von Gerkan, Marg & Partners; Schlaich, Bergemann & Partners are

responsible for structural design of barrel-vaulted arch roof and bridges. The main design feature of the station

is a glass roof completed in 2003. The roof has been always a distinctive feature of railway station architecture;

once the Anhalt Station opened in 1880 in Berlin was the biggest station in the city at the time, with a station

hall with no supports of 167,79 m-long, 60,72 m-wide and 34,25 m-high. Station roof, which is a train shed at

the same time - is a major feature that gives the station its artistic quality (Fig. 4.2.1/1).

Berlin Hauptbahnof consists of 321m-long glass-arched train shed (glazed grid steel shell with cable support),

180m-long and 27m-wide station hall framed by two separate 46m-high buildings for retail, offices, hotels and

services, as well as of multileveled concourses (Fig. 4.2.1/2). The complex consists of 20,000 m2 of shopping

space. The original proposal included also 44,000 m2 of office space and waterfront residential space and parks

around the Humboldt Harbor area but the project was severely reduced in scale because of restricted public finances.

In spite of tied finances, the station part has been planned spacious. The concourses are open, the lowest platform

can be seen from the top and a natural light can penetrate from the platform for the high-speed trains on the

highest level due to large openings of the station hall (Fig. 4.2.1/3). The area of 80.0 m by 80.0 m in the center

of the station has been equipped in 53 escalators, 5 staircases, and 14 elevators. Six large glass elevators

make possible to experience the spatial configuration of the station while changing trains. Station has large

spaces filled with natural light coming through a glass roof and glass walls. The station is transparent also

through its openings. Large in scale, station has facilities – entrances, smaller spaces, staircases, benches,

etc., which scale relates to human scale. The composition of the station is harmonious and dynamic. This landmark

station complex is an important component of the area development plans. Its huge shed set it apart from other

building giving symbolic role in the composition of rebuilt area. The four north-south platforms with eight tracks

for regional traffic are situated 15 m below the ground level. Beside them, there are tracks for city new

underground line U-Bahn 5 and S-Bahn 21 lines.

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Fig. 4.2.1/1 Berlin Hauptbahnhof – station roof (2009) Fig. 4.2.1/2 Berlin Hauptbahnhof – front elevation

Fig. 4.2.1/3 Berlin Hauptbahnhof – lower levels Fig. 4.2.1/4 Berlin Hauptbahnhof – the surrounding

The concept is based on the separation of transportation functions from commercial functions. There are

commercial facilities at the station but the care has been taken not to exceed particular level of commercial

areas and not to transform station into department store. The mezzanine level is planned for access to parking

building with 900 parking spaces, shops, bars, cafes, restaurants, Travellers’ Lounge and other service

facilities. The parking building has also direct access to the Federal Highway 96. On the street level are also

planned the Rail Travel Center and other facilities, taxi, buses, cars as well as pedestrian access through the

station entrances from surrounding streets. S-Bahn and two long-distance high-speed trains platforms in the

east-west direction are located 10 m above the street level.

A prominent location of the central station has been underlined by urban planning. Station is connected by

a new pedestrian bridge over the Spree River and important government buildings can be easily accessed. Through

a transparent station building the surrounding can be seen. One stepping out from the train can immediately see

government buildings, among them the Reistag and Chancellor’s Office, as well as the capital’s skyline,

including more distant landmark buildings like Sony Center, etc. (Fig. 4.2.1/4). The station impressive exteriors

and interiors, according to expectations by city government, link with 19th century engineering tradition in

Europe. Berlin Hauptbahnhof has been built as the first modern mega-station. Its beauty has been delivered directly

from the structural art. The structures of the roof and the two towers look light, transparent and provide the

grandiose look for the station. Overall design of structure has been coordinated well with architectural finishes

and details. The essential aesthetic factors – innovative structures and structural rhythm, considerations given

to large space and provision of light have been included into this successful design.

4.2.2 St Pancras International (2007)

St Pancras railway station operated by Network Rail and often termed as the “cathedral of the railways”,

is located in central London near King’s Cross Station, which has been now (until 2013) under redevelopment.

Magnificent historical station and hotel (Midland Grand Hotel) designed by Sir George Gilbert Scott were completed

in 1877. A single-span iron-and-glass train shed with beautiful and biggest of its kind for decades arch roof

was designed by William Henry Barlow and Rowland Mason Ordish. When the station was first opened in 1868, a 74

m-wide train shed was a spectacular structure that held the world record for the largest enclosed space.

In 1960s, St Pancras Station was threatened with demolition because it was considered old-fashion. Fortunately

it was rescued by architectural historians and conservationists and in 1967 declared a Grade 1 building. In the

end, station was renovated, enlarged and adapted for high-speed. Today St Pancras remains one of the greatest

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Victorian buildings in London. The master plan for the extension was originally created by Sir Norman Foster

and developed by Alistar Lanley and Arup. After a decade-long project the station was officially re-opened as

the St Pancras International in 2007. It serves as a final destination for Eurostar and high-speed rail in the

UK. After opening of the station, the number of Eurostar passengers increased for about 20%. Annually, the station

is used by more than 6,6 mln passengers (2008).

Fig. 4.2.2/1 St Pancras station – historical Fig. 4.2.2 London St Pancras Station – “Arcade”

shopping building before renovation (2001) center under the historical roof

The most recognizable features of St Pancras are the red brick façade with neo-gothic arched windows and

clock tower (Fig. 4.2.2/1). Now this part is used for offices and services. One of the structural-artistic features

of the stunningly restored station is its roof which has been fitted with 14,080 glass panels giving a total

area of nearly 10,000 m2 (Fig.4.2.2/2). The extension has been designed as a new and modern structure covering

all 13 platforms. It has an aluminum-clad louvre-blade and light glass roof floating above the platform deck.

A large space under the roof makes it comfortable for passengers to move on the platforms. A glass roof allows

natural light to penetrate the high-speed trains’ platform on the upper level. Also other facilities on upper

level, such as champagne bar and brasseries benefit from the artistic roof. Street level provides approach to

the train level and it is housing ticket offices and shops. “The Arcade” – independent and boutique retailers

are located on the first floor, beneath the Victorian brick arches.

The old and new structures are separated by a glass transept of more than 100 m (Fig.4.2.2/3). The various

domestic service platforms, both above and below ground level, are accessed via a street-level domestic concourse,

named ”The Market”, that runs east to west at the point where the old and new parts of the station meet— the

domestic and international concourses meet at a right angle, forming a “T” shape.

The main pedestrian entrance to the station is at the eastern end of this domestic concourse where a subway

tunnel leads under the ground for pedestrians to reach King's Cross station and the northern ticket hall for

the shared tube station. St Pancras hotel has been still under renovation and as a five-star hotel it will be

opened in 2011 and operated by Marriot International.

Fig. 4.2.2/3 London St Pancras Station – new entrance Fig.4.2.2/4 London St Pancras Station – street level

platforms and art through a glass transept

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The beauty of the station has been delivered from its magnificent structure and finishing details, from its

grand scale, as well as from the art. Several artworks have been installed at the station, including a 9-metre

statue – “The Meeting Place”, designed by British artist Paul Day, which stands beneath the station clock

(Fig. 4.2.2/4). In restoring St Pancras, modern interventions have been designed to be subservient to the original

architecture whilst enhancing its grandeur. The train shed has been restored to as near original conditions as

possible and the disused formerly industrial undercroft has become a new 21 century feature - a vibrant public

space within international terminal. The total design concept was to express the beauty of glass arched roof,

its painted ironwork, in combination with red brick and modern materials such as glass railings, elevators and

walls. The artistic beauty of engineering has been enhanced by well done coordination with architectural details

and finishes. Station is lit with light, spacious and elegant. Blue-painted newly extended train shed carries

the artistic image of historical engineering with contemporary one, and a good sense of total coordination between

the past the present. The essential aesthetic factors – structure and its rhythm, considerations given to large

space and provision of light have been successfully restored and developed.

4.2.3 Tokyo Station (2004-2013)

Tokyo Station is the main intercity terminal in Tokyo and the eighth busiest stations in Japan. About 380,000

commuters and visitors pass through the station every day. Annually, the station is used by more about 14 mln

passengers (2007). It has two sides with different buildings – Marunouchi side with historical building in

neo-renaissance designed by architect Kingo Tatsuno and built in 1914, and Yaesu side with new office towers

and recently rebuilt Daimaru department store. Japan East Japan Railway Co. along with four other companies

including Mitsui Fudosan, have been redeveloping Tokyo Station since the 2004, as a part of efforts to revitalize

the heart of the capital. During this process, a red brick Marunouchi building will be added one more story and

restored to its original shape from before wartime damage (Fig. 4.2.3/1). The octagonal domes will be rebuilt

into original form and their interiors decorated with reliefs on an eagle, a warrior’s helmet, a sword and other

patterns. The surrounding area will be converted into w station square giving more space for pedestrians and

extending towards wide walkway to Imperial Palace (scheduled for completion in 2011; Fig. 4.2.3/2).

Fig. 4.2.3/1 Tokyo station Marunouchi side (2009) Fig. 4.2.3/2 Tokyo station Marunouchi side – image

after completion, adapted from JR East Fig. 4.2.3/3 Tokyo station Yaesu side (2009) Fig. 4.2.3/4 Tokyo station Yaesu side – image after

completion, adapted from Mitsui Fudosan

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On Yaesu side, the “Sapia Tower” with offices, Hotel Metropolitan Marunouchi and conference facilities,

and the “GranTokyo” twin south and north 200-meters high-rise towers designed by Helmuth Jahn, housing the

Daimaru department store,were completed in 2007 (Fig.4.2.3/3). Central part on Yaesu side will be replaced by

a lower than before structure, with a 240-meter-long pedestrian deck under large dynamic and airy canopy covering

outdoor and loading areas and 10,700 m2 plaza (scheduled for completion in 2013; Fig. 4.2.3/4). The deck designed

also by Helmuth Jahn will be covered by a huge white roof – “GranRoof” - that resembles a sail. Shops will

be positioned along the deck overlooking the spacious plaza.

The new Tokyo station will realize a new concept of the capitol station – “Tokyo station city”. The beauty

of engineering will be directly delivered from the concept of “crystal towers” – glass structures for high-rise

towers and from the concept of “a sail of light” for the “GranRoof’s” membrane structure. “Tokyo Station

City” will consist of renovated historical architecture with brand new “crystal” architecture and structures

that will provide extremely attractive public and transportation space. Aside from the modernization of historical

building and new building construction, among modernized spaces at the Tokyo Station are newly developed interiors

– earlier “Tokyo Station Media Court” (2000), “Silver Bell” (2002) – a recreation space designed by Edward

Suzuki, “Kitchen Street” (2004) - a mall with restaurants, and a “GranSta” (2009) - “a stage” created for

people to rest and enjoy various facilities that has been opened on the first basement. Tokyo station with its

prominent location, large volume, interesting and dynamic form and structure, historical forms as well as with

high-tech new image has the aesthetic qualities of a landmark station.

Aesthetics of Tokyo Station will be expressed through the combination of old and new – reconstructed

historical building on the Marunouchi side and new part with expressive structures on the Yaesu side. New towers

and roof represent innovative structures and reflect structural beauty, rhythm and large scale. This part also

will offer larger space that an old one. Glass walls will introduce light into station halls and service areas.

But regarding the location of Tokyo Station, some spaces cannot and will not be provided with large dimensions

and day light. However more attractive station entrances and surrounding on both sides will add aesthetic factors

to Tokyo Station.

5. CONCLUSIONS

Railways in Japan have shorter history than in Europe. Although relatively young (first railway station in

Japan – Shimbashi – was opened in 1872), in more than 130 years of railway history in Japan, stations have

undergone many changes and developed. Comparing to Europe, railway station tended to be strictly functional and

therefore uniform in their look. In Europe there has been a long tradition of architects’ involvement in station

design. In Japan railway companies have been developing their in-house designs. Typical station design had not

many aesthetic qualities. Currently, both in Japan and in Europe, the implementation of aesthetics is being

realized by railway companies - through their policies, amenity improvement programs, by focus on their corporate

design, by involvement of architects (particularly in Europe), and appointment of design committees (in Japan).

Japanese stations are distinguished by their cleanness, accessibility, good toilets, bilingual information signs

and safety. However, comparing with European, majority of Japanese stations are less spacious and sometimes the

aesthetic design is not as comprehensive as in Europe. But this situation is improving in Japan. Recently more

stations have been designed by well known Japanese architects.

In spite of some differences, both in Europe and Japan there are impressive mega-stations. Such contemporary

large stations are “cities within a city”. Except transportation, they accommodate many other functions so

people come to these stations for many various purposes. Latest designs of mega-stations show that artistic

qualities have been considered at important landmark stations. Two of the stations – in London and Tokyo - have

historical buildings with important cultural heritage. The buildings have been renovated, extended and

supplemented by completely new structures. Tokyo station has been still under development and the new station

will form a large-scale development – a “Tokyo Station City”. London station has been completed but its links

to adjacent subway King’s Cross Station are still under construction. Berlin station has been built as a grand

new station. All three stations have important location in the city centre, which has been considered in their

planning and design. In spite of transportation function they are also source of communication, culture and art.

All these stations are large, serve high-speed trains and are connected to subways. They have facilities on many

levels, including underground. The most developed underground is Tokyo Station since underground shopping malls

are typical feature of stations in Japan. Station buildings have distinctive features that make them important

urban landmarks. This landmark characteristic is delivered mainly from the location and impressive size and

structures. Tokyo Station has important location – facing the Imperial Palace and on the main urban axis. Berlin

Hauptbahnof is also distinguished by location in front of the governmental district. St Pancras belongs to the

“London stations group” – a group of eighteen, mostly terminal stations in London.

Structural art and aesthetics of architecture are very important qualities that should be present at railway

stations. Being a historical building with a large train shed, which has been beautifully renovated and extended,

gives St Pancras station the ultimate quality of structural art. Berlin Hauptbahnhof has overwhelming new

structure which gives the station architectural form. Tokyo Station has also a historical building but its

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structure is not visible and not deterging the beauty of the station. The aesthetics of architecture of Tokyo

Station is delivered from the contrast between the old picturesque architecture and modern cantilevered structure

of the station entrance building and surrounding it high-rise towers. These three stations are the finest examples

of architecture and engineering. They have become a destination in their own right and they have successfully

restored the glamour of rail travel.

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