
from some distance, festooned the city’s main streets. By comparison the tubes,
hidden underground, intruded much less.
Transport systems also had an architectural presence in the town. The most
grandiose and visual were the railway companies’ mainline termini. These were
far more than functional. Some, such as Charing Cross, employed the associated
hotel as a classical façade to hide the less attractive business end. Others, such as
Euston or St Pancras, were ornate, demonstrating the wealth, power and pres-
tige of the railway company.
113
The Doric arch at Euston was particularly sym-
bolic, denoting the victory of the railway company in its struggle over
opposition, and the towers on some stations indicated the soaring aspirations of
an arriviste industry in its search for respect and prestige.
114
As Geoffrey Channon
has shown, London termini were not necessarily built for sound economic
reasons but for prestige and ‘political’ purposes.
115
They were often ‘monuments
to the self confidence, determination and pugnacity of their builders’.
116
As
Robbins has reminded us, stations needed to be seen as part of their function of
attracting people and goods,
117
but many went well beyond this, building in the
currently fashionable architectural style to emphasise the solidity and respectabil-
ity of the enterprise – gothic and classical – though the latter was much criti-
cised by Pugin and others for putting form above function.
118
Because of their
centrality in urban life, they became one of the nodal points of the city, like the
town hall, the central library or the cathedral, and as such places for meetings
and rendezvous, where a whole gamut of emotions was displayed from joy to
sorrow, as partings and reunions occurred.
119
Later, tube stations were often built
by fashionable architects, especially those on the outer arms of the Piccadilly and
District Railways such as Park Royal and Southgate, both designed by Charles
Holden, in a modern style to emphasise the modernity, speed and comfort of
the method of transport and to entice passengers.
120
Central bus and coach sta-
tions, such as Victoria in London, were also designed to indicate the modernity
of the mode of conveyance and so broke from the classical or gothic forms asso-
ciated with the railway stations, going for the simpler, cleaner aerodynamic lines
that were mirrored in the buses and coaches which plied from there.
Thus in a number of periods the buildings of transport systems acted to
impress, entice and act as metaphors of the companies that created them. They
Transport and the urban environment
113
Ibid., p. .
114
J. Richards and J. M. MacKenzie, The Railway Station (Oxford, ), pp. –.
115
G. Channon, ‘A nineteenth-century investment decision: the Midland Railway’s London exten-
sion’, Ec.HR, (), –.
116
Olsen, Growth, p. .
117
Robbins, ‘London railway’, .
118
E. Jones, Industrial Architecture in Britain, – (London, ), pp. –.
119
Richards and MacKenzie, Railway Station, pp. –; G. Biddle and J. Spence, The British Railway
Station (Newton Abbot, ).
120
G. Weightman and S. Humphries, The Making of Modern London – (London, ), pp.
– and .
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