AESTHETICS OF IMPRESSIVE MEGA-STATIONS IN

EUROPE AND JAPAN

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.

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 policys 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 (Rseau Ferr 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 (Sociti Nationale
des Chemins de fer Franais) 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 Rgionaux), 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 del Est (1988),
Gare dAusterlitz (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-Exupry 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 Mditerrane, 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 dOrganisation 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 stations 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 lights 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
Londons 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 Londons 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-Exupry 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 Berlins 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 Chancellors 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 Berlins 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 Chancellors Office, as well as the capitals 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 Kings 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

shopping building before renovation (2001)

Fig. 4.2.2 London St Pancras Station Arcade

center under the historical roof

The most recognizable features of St Pancras are the red brick faade 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

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Fig.4.2.2/4 London St Pancras Station street level

platforms and art through a glass transept

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 warriors 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 GranRoofs 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 Kings 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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