Waverley Stations Booking Hall
Edinburgh’s Waverley Station has experienced an extraordinary scene of changes and controversy since its birth in 1846 growing to be the second largest station in the British Isles. It has witnessed a variety of modifications right up to the present day, breaching the non-extant Nor Loch it has seen an abundance of industrial strides in engineering and architectures. The Booking Hall – in the third realm of station redevelopment – brings a functional centre piece, contrasting in style from its exterior framework shell. It presents a change in ideology into the turn of the century, with a bespoke melody of thought and accomplishment. This exuberant space provides itself to be analysed further and to why it was a distinct piece of architecture compared to its outer context.
The booking hall in terms of chronological order is quite a late edition within the context of the stations history, being constructed in the new Waverley era from 1892 to 1902. However the overall construction of this new station did not come without its controversy, ‘it was not an idle boast as the reconstruction would be radical’[1]. It provoked an outrage as the NBR (North British Railway) wished to steal strips of land from Princes Street gardens for line and station redevelopment. This situation had already proven to cause residential outcry through the passing of the 1844 railway regulation act which sparked protests lead by High court judge and conservationist Lord Cockburn predicting that the creation of the Edinburgh – Glasgow line through the gardens would destroy it: ‘the whole beautiful ground will be given up to railways, with their yards, depots, counting houses, and other abominations, at least on the east side…’[1]
Nevertheless although the NBR where allowed to continue with the project, restrictions were still in place. However these ‘servitudes and ancient lights’[2] which the bank of Scotland looked to imply were now eased to 42 feet – still making the station as unnoticeable as possible. [1] However this was exactly the opposite of what the NBR had envisioned. They visualised a baronial station of architectural virtue, towering roofs, vast open spaces for passenger pleasure and to be a powerful statement not only to the train travelling experience but of positivism in starting the new century.
This need to be unobtrusive and restrictions placed on the design is shown in the glass roof, being relatively low key and submerged to it surroundings due to a multiple of issues. Firstly the ‘New Waverley Station’ was brought to the forefront in difficult times with strikes lasting two months in the Christmas period of 1890 – causing havoc for the Scottish railway companies.Also the development of new technology such a steel forms; seen first at the Crystal Palace, housing the great exhibition of 1851, by John Paxton[1] – although new and riveting it had not really been accepted as yet into the architectural world. In terms of stations, St Pancras, London 1865 – with its large steel and glass shell – was not considered architecture either and was largely hated being hidden behind the Gothic Revival Midland Hotel, 1847 by George Gilbert Scott.[2] Architects in this period were concerned with stylistic revivals of various kinds and were not particularly interested in engineering, which stations required.[3] Thus we must assume the station roof designers Cunningham, Blyth & Westland did not want to bring any further criticism to this already controversial redevelopment keeping the roof as quiet and as hidden as possible. [1] Furthermore romanticism had taken hold of Scotland in build up to the turn of the century with the concept of the genius who was able to produce his own original work through this process of "creation from nothingness". This is clearly shown in this romantised postcard above, displaying Waverley Station before it had even been build with Caspar Freidrich remark the ‘artists feeling is his law’[1] being highlighted.This phrase sutbly hints to us the station must be silent in this picturesque masterpeice, it must not destroy the beauty of the ‘Athens of the North’. Likewise the North British Hotel was being construction at the same time to which we [1] must assume this was to be the focal point of ‘New Waverley’- a luxurious five star hotel imbracing the Victorian style but having influences from Scottish Baronial. From these issues we must conclude that the Railway companies chaos, roof designers fear and the intellual movement of romanticism must have all been extreme instigators in the overall finished product of the station roof. However internally there is a complete overbearing contrast in exploration of confidence leading to the main show piece, the booking hall.
One might agrue that it was a cleverly divised plan by the NBR to creat such a dull exterior shell to then go into this other world of atomsphere and melody. However I would have to agrue against this claim, the idea of the NBR through its turnmoil of negitive factors and idelogy of the time would have this organisated, architectural plan is a little far fetched. It is most probable that throught the mounted restrictions placed on them, there outrage came out through there architectural design of the station refreshement room and station accommodation. This can be highlighted through part of there brief ‘for storage of rolling stocks and carriages and for no other purpose’.[1] The demeaning-ness of ‘no other purpose’ was in all likelihood one of the sparks which lead the erotic change in style. The continuous prohibition of restrictions would have infuriated the NBR and thus lead them not just to create a ‘refreshments room’ but a grand central spectacle fit for a theatrical performance. [1] This theatrical performance is of course the booking hall, in the new main Waverley building. From the plan below we can already see Cunningham, Blyth and Westland’s intentions to create a large open space room for the public. However it appears strange in plan that such an important key feature is shifted to the side of building and not centralised. However ingeniously this was intended as moving the central space off centre allowed them to hide a central pier from the newly designed North Bridge, appearing as if the station roof above is floating. The stations central building in fin de siecle style was to be three storeys high and built to impress.[1] The impressiveness was to house this new found positivism in build up to the new century, but in doing so the exterior creates a contrast but harmonisation within the outer station. The contrast is clear to see in terms of materiality with the building being made of fine sandstone in comparison to its steel frame structure which it is locked under. The impression of breakage is created were the booking halls dome appears to pierce through this steel skeleton frame but in doing so appears trapped. Harmony is created through the blending of differing architectures between the building and the station walls. The Walls in simple arch neoclassical style combine well with mere impressiveness of the station building, with the same stone material being effectively executed.
As already mentioned the station roof was silent and had a seemingly frightened personality, yet hidden amongst this regularisation the booking halls roof breaks this chain. From above it appears this elaborative design is getting sucked into this steel sinkhole. Nevertheless internally a completely different atmosphere is created, almost godly in emotion, with the large Cupola lighting up the central area were the eight-sided ticket office used to stand (removed in 1970).[1] When looking upon the cupola it shows itself it be quite a foreign element to a reasonably box like room which heightens itself to be a greater focal piece to the room. However this is not the only way in which the space is light up, the lighting is carefully managed through a grid system, as shown below. The symmetry of other octagonal roof lights helps to further flood light in gently through its stylisation, acting as a guide for passengers to go to other areas such as the waiting rooms and lavatories. However there is more happening here than just a room getting filled with light, the unusually exuberant visual aspect appears to be catalysed by the light pouring down on to the frieze below – shown in belle époque style with figures and garlands – evoking the optimism the space has to offer. In retrospect, the design could begin to be considered a ‘golden age’ opposed to the horrors of World War I.
When working your eye downwards from the roof you begin to realise the cleverness of Cunningham, Blyth and Westland in expressing a room with complete harmonisation for its function. A continual relationship between materials is present, with the ceiling – in-between the lighting – evokes this graceful dark wood panelling which would have equalled that of the highly crafted central booking office. Also the fine sandstone of the entire space appears to have a rhythmic effect with the mosaic flooring – showing the NBR coat of arms at its corners[1] – creates this maintained flow throughout.
This flow I would argue is reinvented into confidence and positivism with the heraldic flourishes on the stonework and where a bronze statue of John Walker – who managed and protected the Waverley project[1] – used to stand. These gestures appear almost mild Baroque with flowering patterns developing on to the floor design. However it is hard to distinguish whether or not it is an evoked baroque style as the building was designed in lead up to the new century. Thus the space is more like a clash of multiple classicisms to show the world differing styles can create a harmonising accomplished masterpiece. Thus I would have to debate (as previously mentioned) whether the North British Hotel was the focal point to the construction process of New Waverley in 1892. Although lavishly decorative and eccentrically Victorian it was only a place for the upper classes, with few people able to afford the experiences of the internal spaces. The Booking Hall on the other hand was a space open for all classes to congregate and enjoy.
1 A.Glen, Edinburgh Waverley: a Novel Railway Station (Isle of Man, 2013) p.38.
2 H. Cockburn, Journal of Henry Cockburn: being a continuation of the 'Memorials' of his time, 1831-1854 Volume 1, (Edinburgh, 1874) p.175.
3 A. Glen, Edinburgh Waverley: A novel railway station (Isle of Man, 2013) p.17.
4 M. Fazio, M. Moffett, L. Wodehouse, World History of Architecture (London, 2013) p.414-15.
5 A. Macdonald, Engineering Architecture, Lecture 7, p.6-15.
6 Macdonald, Engineering Architecture, p.7-8.
7 F. Novotny, Painting and Sculpture in Europe 1780-1880 (Yale, 1960) p.96.
8 A. Glen, Waverley Station: A Novel Railway station (Isle of Man, 2013) p.38-39.
9 A. Glen, Waverley Station: A novel Railway Station (Isle of Man, 2013) p.47.
10 Canmore ‘Item SC 361753’ additional information (http://canmore.rcahms.gov.uk/en/details/361753/)
11 Canmore ‘Item SC 367289’ additional information, (http://canmore.rcahms.gov.uk/en/details/367289/)
12 A. Glen, Waverley Station: A Novel Railway Station (Isle of Man, 2013) p.47-48.
(March 2014)