Architecture : $b nineteenth and twentieth centuriesHitchcock, Henry-Russell
History
Architecture : $b nineteenth and twentieth centuries
Hitchcock, Henry-Russell
Architecture, Modern -- 19th century; Architecture, Modern -- 20th century
In two new London railway stations, both happily extant, these years
produced the chief rivals to the Crystal Palace. At King’s Cross,
planned by the architect Lewis Cubitt in 1850 and built in 1851-2, the
two great arched sheds somewhat resembled technically the transept of
the original Crystal Palace, their principals having been of laminated
wood. These had eventually to be replaced in 1869-70 with the present
steel principals which are, however, still held by Cubitt’s original
cast-iron shoes. The masonry block of the station on the left, or
departure, side is undistinguished but fairly inconspicuous. The great
glory of the station is the front, with its two enormous stock-brick
arches that close the ends of the sheds towards the Euston Road (Plate
66A). The idea had been Duquesney’s at the Gare de l’Est, but here there
is no irrelevant Renaissance detail, only grand scale and clear
expression of the arched spaces behind.
Paddington Station, built in 1852-4, has no such grand exterior, being
masked at the southern end by the Hardwicks’ Great Western Hotel. The
engineer Brunel here called in the architect M. D. Wyatt (1820-77) as
collaborator, and for the metal members of the shed Wyatt devised
ornamentation which—as Brunel specifically requested—is both novel and
suited to the materials (Plate 65). There is a slightly Saracenic
flavour both to the stalagmitic modelling of the great stanchions and to
the wrought elements of tracery that fill the lunettes at the ends and
even run along the sides of the great elliptically-arched principals.
But the detailing of these, if unnecessarily elaborate, is certainly
quite original and not inappropriate to the materials or to the complex
spatial effects of the three great parallel sheds crossed by two equally
tall transepts. The cool spirit of Cubitt’s station recalls that of
earlier Romantic Classicism; the richer forms of Paddington are related
to the rising ‘High’ styles of the third quarter of the century, of
whose initiation the Great Western Hotel was one of the earliest
indications (see Chapter 8).
Public-domain text, read in full here on John Shaqi.
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