Architecture and art at subway stations
日本とヨーロッパの現代的な
地下鉄駅のデザインと芸術
木戸エバ
Ewa Maria KIDO
株式会社建設技術研究所
国土文化研究所
（〒103-8430 東京都中央区日本橋人形町2-15-1-6F）
E-mail: kido＠ctie.co.jp
Introduction
Subways have almost 150 years tradition in Europe and USA, and almost 85 years in Japan. They are one of the
most popular and most efficient means of urban transportation. Because subways are located underground,
sometimes very deep, it is important that in spite of quick transportation, they also provide friendly, refreshing and
aesthetic environment. Only good architecture can fulfill that task, and arts can give them intellectual depth,
additional charm and identity. Subway stations in Europe have tradition of good design but later on, during Modern
period, stations were less decorative and more economically-oriented. However, since the 1980s in Europe and
1990s in Japan, along with “station renaissance” – a period of revitalization of railways and subways, subway
stations with good architecture and artistic image have accomplished aesthetic design again (Kido, 2001).
1. Tradition of architecture and art at subway stations
First underground railway lines were constructed in Britain. The introduction of subways was seen as a big
engineering achievement. The first underground railway in London, opened in 1863 by the Metropolitan
Underground Railway, was the Metropolitan Line, which ran on the distance of 6 km from Paddington to
Farrington. The four contemporary London’s lines have developed from Metropolitan and District Lines, which
were built using the “cut and cover” tunnels. Later, since 1890, lines were built deeper in circular tunnels. First
deep lines were built for the City (1890) and South London Railway (1890). When first subways were constructed,
aesthetic thoughts were there from the beginning. The architect of London’s stations - Charles Holden (1875-1960)
- was the master of traditional classical forms. He had an excellent knowledge of new construction methods and
materials. Instead of superficial decoration, he was concerned with functional problems. Therefore the design for
London’s underground stations features simple and functional Modernist forms. The aesthetics that reflected this
consciously modern design was the Art Deco (Fig. 1.1).
Fig.1.1 Baker Street Station, London Underground
Fig.1.2 Hosok Tere Station, 1896, Budapest Metro
London’s Underground (Tube), was not only the world’s first metro but also the first to have a corporate design,
including the roundel log (by Franck Pick, 1918), the diagrammatic map (by Henry C. Beck, 1933), and standard
“Johnson” typeface. To make the Underground Group's posters and signage more distinctive, Franck Pick
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(1878-1941) commissioned calligrapher and typographer Edward Johnson, who designed a clear new typeface that
should have "the bold simplicity of the authentic lettering of the finest periods" and belong "unmistakably to the
twentieth century" (Wolmar 2005). Johnson’s sans serif “Underground” typeface was first used in 1916 and was so
successful, that with minor modifications in recent years, it is still in use today. This ground breaking concept has
also influenced many other metros. Pick’s influence extended beyond graphic design. His aim was to create a
comprehensive “fitness for purpose” corporate style for stations, vehicles, etc. At the same time, he also brought in
elements from the world of arts and crafts, for example the London Underground (LU) art posters that have become
an essential component of Public Transport`s (PT) image of London.
The second oldest underground in the world, after Britain (London and Glasgow) was the Budapest Metro
(Budapesti metró), which is a metro system in the Hungarian capital. Its Line 1 was built in 1894-1896. While the
stations had walls in decorative tiles, structural elements were also visually distinguished, giving the stations
modern look. Today old stations have been restored and some interesting new stations added to the network (Fig.
1.2). In 2002, it was declared World Heritage site. The new railway technology swiftly spread to other European
cities, and then to the United States, where a number of elevated systems were built, starting in New York in 1868.
In France, underground railways were built in Paris. They were intended to improve public transport, particularly
on the eve of the Great Exhibition, which was to be held in 1900. The work, for which mostly responsible was
French engineer Fugence Bienvenüe, began in 1898 on Line 1 that ran from Ponte de Vicennes to Port Maillot on
east-west axis through the city. Unfortunately, Paris Métro (Chemin de fer Métropolitane) at that time known as
Metropolitan, did not open before the exposition but few months later in 1900. In the early years the tunnels were
excavated using the flying arch method and crossings through the River Seine were on viaducts. Later the network
was extended using conventional methods, and tunnels were built under the river. Paris Métro was fifth in the world,
having followed London, Glasgow, Budapest, and Boston. Paris Métro was always considered the most elegant,
particularly because of its Art Deco entrances designed by architect Hector Guimard (1867-1942). He was
influenced by Art Nouveau architecture and developed his own style, significant for fluid, curvilinear lines, called
the “Style Guimard”, which was in opposition to ruling taste of French Neo-Classical architecture. His entrance
gates of 1899-1905 were made of iron cast into elegant, flower-like forms with hooded light fittings and glazed
canopies (Fig. 1.3). Paris Métro had established its distinguished style using mostly column-free vaults with white
beveled tiles the walls, white letters for station names on blue background, fixed size for advertisement panels and
carefully designed lamps, luminaries and other details (Fig. 1.4).
Fig.1.3 Abbesses Station, 1900, Paris
Fig.1.4 Pyramides Station, Paris Métro, Line 7
Vienna has also the Art Nouveau stations, which have been planned by the renowned architect Otto Wagner in 1898,
when the city system was inaugurated. The Wiener Stadtbahn (Vienna Metropolitan Railway) was a public
transportation system operated under this name from 1898 to 1989. Today, the Vienna U-Bahn lines U4 and U6 and
the Vienna S-Bahn (rapid transit) run on its former lines. Its most famous buildings are the two former station
entrances on Karsplatz, now used as a café and a museum respectively, and the Hofpavillon, a station built
specifically for Emperor Franz Josef located at the eastern end of Hietzing station near the Schönbrunn Palace.
In Germany, Berlin has got its first U-Bahn line, mostly elevated in 1902. Subsequent development was in 1923-30,
when Berlin received basic subway network of 76 km. In 1902-1930 Swedish architect Alfred Grenander has
designed more than seventy underground and elevated stations. His style evolved from decorative to modernist. He
was under influence of purity and functionalism of the Bauhaus and Modern Movement and inspired by Walter
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Gropius. From 1919s, the buildings of the U-Bahn were simple, exploiting architectural proprieties of brick and
concrete to derive aesthetics. Another architect, Peter Behrens, designed the Moritzplatz Station. The buildings
designed by well-known architects were perfectly functional from a technical and transportation points of view and
at the same time featured architectural designs, which in all their formal reductionism represented outstanding
examples of so-called “Neues Bauen” (Art Nouveau). In design terms, some of the stations have been very simple
extended rectangles while others, for example Hermannplatz, had lofty halls with imposing stairways. Now
historical stations have been renovated (e.g. Wittenbergplatz built in 1913, designed in Art Nouveau by Alfred
Grenander; Fig. 1.5). The Alexanderplatz Station has been a model for the organization of a number crossing lines.
The first part of the station was opened in 1913 along with an extension of today's U2 line. In the 1920s, it was
completely redesigned above and below ground. The U-Bahn station was expanded to provide access to the new D
(today's U8) and E (today's U5) lines, then under construction. The result was a station with a restrained blue-grey
tiled color-scheme and Berlin's first underground shopping facilities, designed by Alfred Grenander (Fig. 1.6).
Fig.1.5 Wittenbergplatz Station, Berlin
Fig.1.6 Alexanderplatz Station, 2007, Berlin
Fig.1.7 Komsomolskaya Station, 1952, Moscow
Fig.1.8 Ginza Station concourse, Ginza Line, Tokyo Metro
In Russia first metro - Moskovsky metropoliten - was opened in Moscow in 1935. In scale, and spaciousness as well
as decorations, the architecture of the Moscow metro was way ahead of anything ever built up to that period. Some
stations are very deep and large, with high ceilings. Station entrances are architecturally spectacular as much, as
stations below. Moscow`s metro reflects the philosophy of the communist regime during which they were built.
They originally were designed as “palaces for the people”. With their marble-clad walls, chandelier lighting, and
other precious interiors, many indeed resemble the palaces or cathedrals, like 19th century European railway
terminals (Fig. 1.7). It was necessary to use high-quality materials such as polished marble and granite, to make
stations resistant against damp and easy to clean. There are many spectacular places on Moscow metro but one of
the best is beautifully illuminated escalator at Komsomolskaya on the Circle Line. The aim of the designers was to
design underground stations that do not look like underground structures. People should not be reminded that they
are underground; therefore stations are bright, filled with light, and spacious. The style of architecture was
Neo-Classicism. The Moscow metro is the world second, after Tokyo, most heavily used rapid transit system.
In Japan, the history of subways began in Tokyo in 1927, when a 2.2 km stretch of line was opened between
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Asakusa and Ueno (current Ginza Line). Nowadays, old stations and concourses on Ginza line have been renovated
and improved (Fig. 1.8). Tokyo Metro (Tōkyō Metoro) was launched in 2004 after privatization of the Teito Rapid
Transit Authority (TRTA, Eidan chikatetsu) that was established in 1941, as a descendant of private operator Tokyo Underground Railway Company (1920). Tokyo Metro is operating and managing underground railways in
Tokyo and it is also profiting from other activities, such as real estate, commerce at the stations and media
businesses. Currently, it is operating nine subway lines in Tokyo. In Japan, first subway stations were designed as
utilitarian structures without much thought about appearance. Station entrances were usually small, located on the
sidewalks and inside buildings built along streets. Distinctive features attached to stations were station-front
shopping districts - shōtengai, which developed around the railway tracks and also at the intersections of railways
and subways, like for example, Nishiki Shōtengai in Kyoto.
2. Architecture of modern subway stations
Subway stations are located underground and usually these stations do not have station buildings. But it is very
common that subway stations have entrances that can be architecturally distinctive. Historical stations entrances on
Paris Métro not only gave the subway operator its brand image but also contributed to beautiful cityscape. Art Deco
entrances are now an important feature of Paris landscape. Architecture of subway stations consists not only from
the above ground-located entrance but also from subsequently arranged underground spaces that lead from the
entrance to the platform. Sometimes, when the subway line goes above the grand, other structures may appear
along the tracks, such as train sheds, similarly as on other railway lines. In such sense, architecture of subway
stations includes subway entrances, halls and concourses, as well as platforms and structures they may be along the
line. In the past architects took care of these spaces and subways stations were designed according to unified
concepts from the entrance to the platform. How do recent modern subway stations display architecture?
Fig.2.1 Canary Wharf Station, 1999, Jubilee Line Extension, LU, arch. N. Foster Fig.2.2 Canary Wharf Station – hall
Fig.2.3 London Bridge Station, 1999, LU, arch. W. Williamson
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Fig.2.4 London Bridge Station – unified design
Architecture is displayed by particular architectural and structural elements of the station: station buildings and/or
entrances above the ground and station volumes located underground, such as halls, concourses, escalators, and
platforms (. Modern subway stations that display a high level of architecture have elegant and impressive subway
entrances. Subway entrance is usually a roof above the staircase leading to the lower intermediate level of station
hall and concourses. The features of a splendid entrance are: impressive structure, light effects, lighting
emphasizing structure, large escalators, and cutting edge materials.
In the UK, the model subway stations of London Underground are located on the Jubilee Line Extension (1999) in
London. The project included renovation of six stations, maintenance depot and a control center and construction of
five new stations in 1999. The new extension with the total length of 12.2 km begins at Green Park Station and runs
out to Stratford in the east. Italian architect Roland Paleotti, who was commissioned for the JLE project, assigned
well-know architects for the design of each nine stations with two stations handled by his own JLE design team.
Newly designed stations included: Westminster (arch. Sir Michael Hopkins), Waterloo (arch. JLE Team),
Southwark (arch. MacCormac Jamieson Pritchard), London Bridge (arch. Weston Williamson), Bermondsey (arch.
Ian Ritchie), Canada Water (arch. JLE Team), Canary Wharf (arch. Sir Norman Foster), North Greenwich (arch.
Alsop, Lyall and Stomer), Canning Town (arch. John McAslan), West Ham (arch. Van Heyningen & Haward), and
Stratford (arch. Chris Wilkinson). As a result, each station displays high architectural and structural qualities.
Particularly distinguished is one of the stations – Canary Wharf Station, designed by Sir Norman Foster. It has a
magnificent entrance (Fig. 2.1). Through a large glass roof, day light comes directly to the station hall (Fig. 2.2).
The common feature of the JLE stations is elegance reflecting a tradition and modernity. Tradition is that of
London’s subway design led in the 1930s by Charles Holden. Modernity is a nowadays high technology and
restrained functional design. Even though each station designed by different architect is different, all of them have
large interior spaces, concrete finish, metal details, and original lighting (Fig. 2.3; Fig. 2.4). Each space is defined
and the need for signs is reduced to minimum. Total design considers consistency of the stations from the entrances
at the ground level, through the large escalators and concourses - down to the deep platform level. The project
achieved the symbiosis of architecture and engineering. There is a lot of daylight coming to subway stations – it
was used as a structuring and directional device. The design priorities were to provide generous and easily to
understand space, clear passenger routing, and comfortable access by escalators and elevators.
In Paris, an enjoyable architecture has been conceived at two underground interchanges operated by RER (Réseau
Express Régional; Regional Express Network) - a rapid transit system in Paris and its suburbs, as well as on the
newest Métro Line 14 operated by RATP – (Régie Autonome des Transports Parisiens; Autonomous Operator of
Parisian Transports).
At the Gare Haussmann-Saint-Lazare and Gare Magenta interchanges (1999), underground spaces have been
designed as rich and memorable environment, with considerations of form, lighting, materials and colors. Stations
have several kinds of lamps of various sizes, dependent on location. Giant luminaries giving colored lights, as well
as lighting on the walls and columns reduce the impression of enclosure at underground stations (Fig. 2.5).
Paris Line 14, known as a Météror Line (Métro Est-Quest Rapide), was opened in 1998. It runs between
Madeleine to Saint-Lazare via Pyramides, Chatelet, Gare de Lyon, Bercy, and Cour St-Emilion in 12 minutes. It is
high-speed metro with twice as many trains per hour and twice as many passengers as the regular Métro trains
currently carry on other lines. The architectural design of the Line 14 (Météor) relies on the openness and large
spaces of the stations. The size of stations, their corridors and transfer halls brings the line architecturally closer to
those of the RER rather than the existing Métro lines. According to the designers, the stations should be the
reflection of a modern public space - monumental in spirit, urban in its choice of forms and materials. Four
architects designed the first seven stations on the line: Jean-Pierre Vaysse and Bernard Kohn six of them, as well as
Antoine Grumbach and Pierre Schall the Bibliothèque Station. Stations on Line 14 have original and similar shape
of lighting including luminaries and wall lightings, materials for walls and floors finishes, furniture and automatic
doors at the platforms (Fig. 2.6). Meteor Stations have wider and higher concourse and halls than stations on the
old Métro lines. The Météor Line is unique in that its stations are not merely decorated boxes but rather represent a
holistic architecture of great visual quality.
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Fig.2.6 Biblioteque Station, 1998, Métro Line 14, Paris
Fig.2.5 Gare Haussmann-Saint-Lazare, 1999, RER, Paris
Among other stations on European continent that have distinctive elegant entrances and/or outstanding design of
stations are historical Moscow and St. Petersburg metro station buildings, Bilbao and Valencia in Span, Munich in
Germany, Genoa and Perugia in Italy.
Subway in Bilbao (Metro Bilbao) is a rapid transit (metro) system serving the city of Bilbao and its region. It has
two lines and is connected with tram services, commuter rail and long-distance trains Most of new stations in
Bilbao have been designed by Sir Norman Foster in 1995. Foster won the design competition for the metro stations
and was responsible for eight of the stations on line one. The stations are lined with prefabricated concrete cladding
and completed with prefabricated metallic elements, which are virtually maintenance-free: mezzanines, staircases,
ticket machines and lifts. The distinguishing features of Foster’s designs are reflected in interior design - the
treatment of the station cavern, in the access areas - access ramps, mezzanines, stairs and crossovers, and in the
exterior – structures that are visible at street level form part of the urban landscape. The following three elements
relate to the structure of the stations: a gigantic cavern with a cross-section measuring 160 m2 where track bays,
platforms and mezzanines are located; the access walkways with halls into and from which stairs lead to platforms
and the street; and the halls and mezzanines hang from the station ceiling (Fig. 2.7).
The overall result is one of beauty and functionality. The visual expression is of extraordinary spaciousness where
the passengers do not feel trapped underground. The metro architecture also finds unique expression on the street
level. The curved glass shelters now termed after the architect “fosteritos”, have come to be recognized as symbols
of the new underground. Because of their unique way of signaling the Metro line at street level, they can be
compared to the Art Nouveau Metro entrances in Paris. Their shape suggests movement and they are engineered to
admit natural light during daylight hours (Fig.2.8). The Bilbao metro is unusual in that it was conceived as a total
design: architectural, engineering and construction skills were integrated within a shared vision.
Valencia Metro (Metrovalencia) is a large suburban network that crosses the city of Valencia, with all trains
continuing out to far-flung suburbs. The unique system combines light-rail; metro lines and several tram operations.
This metro has on its five lines several very different stations with interesting architecture. First subway line started
to operate in 1988. In 1994 Valencia introduced first in Spain light-rail trams, which were connected with subways.
Stations on Line 1 are very functional and quite uniform, but along the new Line 3 opened in 1995, some artistic
elements like wall reliefs and sculptures were incorporated into underground stations. Alameda Station has an
outstanding architectural design by Santiago Calatrava (Fig. 2.9). The newest stations on the western section of
Line 3 are certainly among the most appealing in Spain, especially because of their spaciousness and design. All
stations have high ceilings above the platforms. Like in other Calatrava’s designs, beauty of the form comes
directly from the way of designing structure. The underground station is part of the City of Arts and Sciences
designed by Calatrava. The roofing of the underground station stems from the girder sustaining the bridge structure,
with a central zone of concrete spokes and ribbed outer areas, where the concourses fit in the stairwells.
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Fig.2.7 Basarrate Station, 1997, Bilbao Metro
Fig.2.8 Plaza Moyua Station, Bilbao Metro, arch. N. Foster
Fig.2.9 Alameda Station, 1995, Valencia, arch. S. Calatrava
Fig.2.10 Candidplatz Station, 1997, U1, Munchen U-Bahn
In Munich (U-Bahn München), U-Bahn was opened in 1972 and currently it has six lines with one hundred
stations. It is connected with S-Bahn system. Some station architecture of the 1970s is restrained, more functional,
characteristic for the Bauhaus Movement. Stations built later on, in 1980s and 1990s, are more eclectic, with
curved lines, colored cladding panels, dramatic lighting effects and with enameled and multicolored glass. The
southbound branch line of U1 Line was opened in 1997 and traverses the colorful station Candidplatz, (Fig.2.10),
eventually reaching Wettersteinplatz. The following station, St.-Quirin-Platz has an extraordinary architecture as it
is covered by a large, shell-like structure made from glass and steel, which is drawn nearly down to track level on
one side. In last twenty years subway lines have been extended and stations upgraded. Stations in Munich are very
spacious but their space is rather traditional. Aesthetic effect is mostly achieved by interesting use of colors and arts,
including paintings, as wells as lighting and other visual elements. Mossach Station (2010; Fig. 2.11) on line U3 is
the newest one built in 2010. Flowers artworks by local artist Martin Fengler gave the station fresh and bright
character. Among continuous renovations are also extension tunnels. Bold colors and stripes of lighting emphasize
well the structural shape of the tunnels accommodating concourses (Fig. 2.12).
Munich subway adopted not only innovative technological solutions and state-of-art tunnel engineering but also
architecture of the very highest standards. Aesthetics of stations has been achieved through the coherence between
architecture and engineering. Architecture relies on the expression of construction details, and the play between the
harmony and contrast. U-Bahn has employed artistically shaped structural elements and also interior finishing. At
the Grosshadern Station (1993; Fig. 2.13) on the extended section of U6 Line, the canopy of angled aluminum slats
throws remarkable shadows over the walls which have murals of geological strata finely grained and composed.
The intelligent use of lighting above the canopied ceiling adds to the sensory delight, at the same time throwing an
even spread of light onto the painted platforms walls and shiny central columns. At the Quirin-Platz Station (1997;
Fig. 2.14) on the U1 Line, designed by architects Hermann + Ottl, completely glass-made shell overhead has been
designed, letting sunlight into every area of the station and allowing the station to be integrated into a park. A street
level glass canopy sweeps down to meet the continuous piled wall of the station at the platform level. This is an
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innovative design that exploits the slope of the site to bring natural light deep into the station. The architecture at
the Munich subway has accomplished an overwhelming sense of architectural good order.
Fig.2.11 Mossach Station, 2010, Munich
Fig.2.12 Marienplatz Station, 2006, U3/U6, Munich U-Bahn
Fig.2.13 Grosshadern Station, 1993, Munich
Fig.2.14 Quirin-Platz Station, 1997, Munich
Genoa Metro (Metropolitana di Genova) has all stations underground, except Brin, which is elevated (Fig. 2.15),
and some stations are on the ground level. The stations have been design by famous Italian architect Renzo Piano.
Using a style simultaneously modern and evocative of 18th-century ironworks, Piano designed five of the six
stations. The airy space framed by glass and steel allows the city of Genoa to be clearly visible in the background.
Genoa Metro is a light metro consisting of only one line. First stations were opened in 1993 and last extensions
were added in 2005. Stations have structure exposed and played as a one of elements of interior design. Such
approach has given the stations clarity and modern look. Darsena Station (2003) for example, has a very large
bright mezzanine, which gives the structure imposing appearance. The platform can be seen from the concourses on
the mezzanine level. Splendid architecture is reflected in clear design of all consecutive spaces leading to the train.
Perugia Metro (Perugia Minimetro) opened in 2008 has only seven stations and is mostly elevated. Only Cupa
Station is located underground (Fig. 2.16). The elegant station buildings have been designed by world famous
architect Jean Nouvel. The project covers a length of 3 km, including a 1.5 km viaduct that connects the city
outskirts with the town's historical centre. The design program included definition of the different types of stations
and of the line in general, and specific studies for the terminus stations of Pincetto and Pian di Massiano.
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Fig.2.15 Brin Station, 1990, Genoa, arch. R. Piano
Fig.2.16 Cupa Station, 2008, Perugia, arch. J. Nouvel
Warsaw Metro (Metro Warszawskie; 2001-2008) has only one line (second is under construction) but is distinctive
because of the soundness and clarity of architectural design. Each station was designed by an architect selected
through the design competition. The most outstanding is Plac Wilsona Station, designed by an architect Andrzej M.
Choldzynski. According to the design concept, the station was conceived as a public building – large and
monumental, with the space that can be easily understood. Structure is a part of the station form; it has been shown
clearly, without any beautifications. Passengers can naturally understand the directions and location of the main
exit. The right direction is emphasized by a large dome with decorative lighting above the platforms, as well above
entrances and exits (Fig. 2.17). To link better the station with its urban context, local materials (e.g. natural stone)
and local crafts were selected. The intention of the designer was to integrate in station architecture art and
sculptures. Station entrances with expressive roofs have been considered as landmarks in local urbanscape (Fig.
2.18).
Fig.2.17 Plac Wilsona Station, 2008, Warsaw, arch. A. M. Choldzynski
Fig.2.18 Entrance to Plac Wilsona Station, Warsaw
In Japan, the combination of good architecture and design is shown at the best on the stations of Minato Mirai
Railway in Yokohama. Minato Mirai Line (Minato Mirai sen) which was opened in 2004, consists of six new
stations. Along the route of 4.1 km, running through the representative districts of Yokohama, three stations are in
city center which has a long history from the age of the opening of Yokohama port, and two are located in Minato
Mirai 21 – a new futuristic center of the city. Characteristic features are more spacious halls and concourses than
usually in metropolitan subways in Japan and good accessibility achieved through universal design. The concept of
MM stations was to express changes in thinking from conventional functionalism of simply processing passengers
quickly - into more complex approach of creation spaces for interest and pleasure. This philosophy provided the
basis for the adoption of large vault and dome spaces (at the Minato Mirai and Bashamichi Station a diameter is
12.5 m, while at Motomachi-Chūkagai Station a diameter is 10.0 m). The platform and track width take up almost
the whole road area and size is not simply set according to the projected number of passengers but also according to
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aesthetics. Furthermore, the stations are located considerably deep and each one was constructed in an open-cut
excavation method, therefore there was a comparative degree of freedom in selecting the structural frame. Even so,
in similar circumstances in consideration of cost balance, a box frames structures are normally adopted. However in
the case of MM Line, in order to secure the highest possible ceiling height and the largest possible volume, vault
and dome spaces consisting of continuous arch structures were set as a structure. These large spaces have been
authorized within the engineering design and developed in architectural design. Renowned architects were involved
in the design – a different architect for each station. Structures were designed with the purpose to achieve
comfortable architectural spaces (Fig. 2.19). Colors have been used not only as an aesthetic accent reflecting design
concept, but also as a guiding passenger’s tool (Fig. 2.20). Stations have been equipped in escalators, elevators and
original furniture. Works of art become also part of architectural design (Chapter 3). Stations in Yokohama show
architectural design delivered directly from structural design. They are one of the best examples of subway stations
design in Japan.
Fig.2.19 Bashamichi Station, 2004, arch. H. Naito
Fig.2.20 Minato Mirai Station, 2004, arch. K. Hayakawa
Other stations of significant architecture are located on the newest subway line in Tokyo – Fukutoshin Line. The
entire line built in segments since 1994 runs 20.2 km between Shibuya and Wakoshi in Saitama Prefecture. The
new stations are on the newest segment of 8.9 km opened in 2008. Design of each of eight new stations –
Ikebukuro, Zōshigaya, Nishi-Waseda, Higashi-Shinjuku, Shinjuku San-chōme, Kita-Sandō, Meiji-jingūmae and
Shibuya - has been by no means also economically-oriented, but aesthetic considerations have been taken into
account as well. The space has been restricted for a new line in the center of congested Tokyo but still some larger
spaces at the concourses and higher ceilings above the escalator have been constructed. Particularly accomplished
is Shibuya Station designed by renowned architect Tadao Ando. The oval space stretches 80 meters and is about 24
meters wide. The middle is an open oval space between the third to fifth underground levels (Fig. 2.21). The
escalator has also original design – the ceiling has been raised and shaped in waves to make passengers feeling less
confined while descending to the trains (Fig. 2.22). Other design features of the Fukutoshin Line stations are:
design theme and color coordination for each station, modern transparent platform furniture, and art walls installed
near the automatic gates (Chapter 3).
Fig.2.21 Shibuya Station, 2008, Tokyo, arch. T. Ando
Fig.2.22 Shibuya Station, 2008, Tokyo
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Fig. 2.23 Iidabashi Station, 2000, Ōedo Line, arch. M. S. Watanabe
Fig.2.24 Iidabashi Station platform
Stations on another Tokyo subway line – Ōedo Line completed in 2000, have been also designed in consideration
of aesthetics of architecture. Station designs of the Ōedo Line were selected through design competition held
between invited architects. As a result, several architects participated in design: Makoto Sei Watanabe, Hideoshi
Ōno, Ken Yokogawa, Hiroyuki Aoshima, Yumio Moriya, Katsuoshi Manabe, Masayuki Maeda, Minoru Fujii,
Kyuzaburo Ishihara and Yōichiro Hosaka. Though architects participated in the design of the Ōedo Line, their
influence expressed less individuality than for example architects’ influence on the Jubilee Line Extension project.
But there have been several achievements in sense of design, for example the web-frame designed by Makoto Sei
Watanabe at the Iidabashi Station (Fig. 2.23). The architectural vocabulary at has relied on colors – each station has
a leading “station color”, and on coordination of design materials and colors. Architectural expression at the Ōedo
Line was realized mainly through combination of different colors for station platforms walls and columns selected
for each station, e. g. green columns and brown walls at the Iidabashi Station, violet columns and white panels at
the Ushigome-Yanagichō, yellow columns and white walls at Higashi-Shinjuku, dark grey columns and grey panels
at Kokuritsu-Boekijō, light green columns and walls at the Aoyama Itchōme, yellow walls and black columns at the
Roppongi Station, etc. Stations also have designed lighting (Fig. 2.24). The next feature is that art forms, art
installations and art walls at the concourses have been installed at each station (Chapter 3). Ōedo Line stations have
been designed with barrier-free facilities, and except staircases, an access has been provided through the escalators
and elevators.
In Japan, in line with “station renaissance”, not only new stations have been constructed on new lines, such as on
Fukutoshin Line, but also many stations on existing older lines have been renovated. Architecture of such stations
have been improved by better interior design (Fig. 2.25), new signs and information boards, new wider concourses
leading to new retail facilities, and by installation of new station entrances. Station entrances in Japan tend to be
more restrained; however there are also examples of original entrances, such as several entrances at Omotesandō
(Fig. 2.26). Renovated stations have better color coordination; colors are part of design and at the same time they
have informative function (each subway line in Tokyo has its own color).
Fig.2.25 Omotesandō Station, 2005, Hanzōmon and Ginza Lines, Tokyo
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Fig.2.26 Omotesandō Station entrance, Tokyo
The examples of stations with distinctive architecture show that architecture of subway stations is one of the
elements of their beauty. Appealing architecture is reflecting structural design, with structural members having well
shaped proportions, and colors, whereas artificial lighting highlights well composed shapes, reflects textures and
give depths to the colors. Best architectural and structural designs make station space clear and easy to understand.
Beautiful shapes of subway entrances distinguish them from other urban forms and add memorable character to the
cityscape.
3. Art at the subway stations
Public art plays a significant role in enhancing image of railways. Railway companies understand the importance of
introducing a culture into the stations through design and art. Art has become a part of cultural value of the rail
brand design. The logo of railway companies has become an important element of design (Fig. 3.1). Some
companies have changed logos, and even names, to reflect better their brand image. 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 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. At that congress John Meagher of Nexus, the Newcastle-upon-Tyne
Metropolitan Transport Authority said, that the quality of the environment of public transport can be well reflected
by its relationship with public art (Allen 2001). In Newcastle, the initiative of introducing public art in
transportation came from the arts sector. In the effect, 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.
Art at the subway stations has been displayed in two ways. One method is displaying art at the station like at the
gallery. Works of art are designed particularly for the station or adopted for interior design. This way of presenting
art is popular at the subway stations and there are many examples, such as in Paris, London, Tokyo, Yokohama, etc.
There are wall relief murals, sculptures, posters, etc. displayed at the stations. The second method is a total design
of the station done in collaboration with artist or craftsmen. Such design has been done for example at the
Stockholm metro. In such circumstances, a station is conceived like a work of art. It becomes an original and
memorable place. Artistic stations contribute to the enrichment of the city and produce city’s alternative landscape
– an underground landscape. Art works were part of renovation projects of Paris Métro and London Underground.
Fig.3.1 Canary Wharf Station - LU logo as a part of interior design
Fig.3.2 Louvre-Rivoli Station, Paris – station gallery
At Paris Métro, RATP design applying arts has been described as “in favor sensitivity”, where the transportation
network is a theater for the “scenarios” creating urban culture (Kaminagai 2001). Such cultural stages have been
created at subway stations in form of “station–galleries”, such as Louvre-Rivoli in Paris (Fig. 3.2) displaying an art
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from the Louvre Museum, and in form of “thematic stations”. Nine “thematic stations” were designed based on
competition that was held in 1998, and included: Tuileries Station (Fig. 3.3) designed according to concept of
“heritage” – it contains a patchwork of signs from transport and the world at eleven murals; Europe Station with
subject “Europe” shown through images of daily life in EU-15 in posters, video images and sound and colorscapes.
St.Germain-des-Prés (Fig. 3.4) is the station for “creation” and describes the art of writing shown in texts projected
onto the tunnel roof and in books in display cases on the platforms.
Fig. 3.3 Tuileries Station, Paris – thematic station
Fig.3.4 St. Germain des Pres Station, Paris – thematic station
Among other stations, Villejuif-Léo Lagrange Station expresses the theme of “sport” on huge frescos showing sport
performances and displaying objects from the world of sport. Luxembourg Station is the station of “urban ecology”
that has a huge mural newspaper depicting town and urban ecology posted in the middle of the platform. Pasteur
Station has the “health” subject and offers an exhibition of private and public health on platform and corridors.
Montparnasse-Bienvenüe is the station of those who “make the metro” – staff, designers, travelers, etc. Carrefour
Pleyel is the “music” station, which is fitted with sound and light accompanying the passing trains. Bonne Nouvelle
Station has the “cinema” theme and it has been arranged as a cinema interior with famous movie sequences mixed
into a film shot in the station. There have been also works of art installed at the stations, for example the PILI
(2000) by Philippe Favier, which means Plan Indicateur Lumineux d’ltinéraire and which is a lit-up map display of
Paris Métro stations giving passengers an imaginary journey. It is displayed at the Pyramides Station on Line 14.
There are also live artistic events and live music, which have already become part of Paris and London
underground environment.
At the London Underground, art has often been serving a particular purpose. Public art can serve practical
purposes, such as helping passengers to identify the place where they are; e.g. the murals at the Victoria Station or
at the Baker Street Station featuring respectively Queen Victoria and Sherlock Holmes (Fig. 3.5). Currently
Transport for London, which is managing all modes of London’s transportation network including subways run by
London Underground, is conducting a program “Art on the Underground”. The purpose is to provide a world-class
art into underground that enriches the Tube environment, and to give customers’ journey experience. The program
aims to present the best international contemporary art and to contribute to LU’s artistic and design legacy and the
cultural landscape of London through a diverse program of temporary and permanent art projects. The “Art of the
Underground” program includes temporary and permanent commissions, a series of commissions for the front
cover of the “Pocket Tube Map” and a program of Tube line-based commissions, which revolve around a particular
theme. One of examples of commissions for the Tub map is the “Music on the Tube map” (2006) by artist Dorian
Lynskey published on TfL Tube map, and showing musicians and bands instead of Underground stations (Fig.3.6).
Since 2004, Art on the Underground has commissioned a series of new works by contemporary artists especially
for the cover of the pocket “Tube map”. In November 2011, an exhibition of art from the map cover pages was held
at the Piccadilly Circus Station (Fig. 3.7). A new cover is required approximately twice a year when the map is
altered and reprinted to take account of changes on the London Underground network. Fourteen artists so far have
produced artworks specifically for the Tube Map covers series. The cover of December 2011 issue of the Tube Map
was designed by Japanese designer Yayoi Kusama. Artworks are located at many stations. One of the examples is
the Marble Arch Station (Fig. 3.8), which was originally lined in plain white tiles, which were refitted with
decorative vitreous enamel panels in 1985. The panel graphics were designed by artist Annabel Grey.
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Fig.3.5 Baker Street Station, London
Fig.3.7 Piccadilly Circus Station, London – art exhibition
Fig.3.6 “Music on the Tube map”, 2006, D. Lynskey
Fig.3.8 Marble Arch Station, 1985, London – artistic panels
Except of works of art exhibited at the stations like at the galleries, station design including art is the one done by
artists themselves. One of the best examples of stations designed by artists, are the stations at the Stockholm Metro.
Stockholm Metro (Stockholms tunnelbana) first opened in 1950, is called the longest art gallery in the world.
Today there are three lines in operation – the Red, Blue and Green lines with total length of 110 km. At 90 of the
100 subway stations, architecture has become an art. City Council had approved that the stations will be designed
by artists and craftsmen together with architects and engineers. The deep underground stations of the Stockholm
metro were excavated through dense self-supporting bedrock, and the cavernous spaces that were created became
the inspiration for a group of Swedish artists calling themselves “the concretists”. Their art was sculptured,
sandblasted, and painted onto the sprayed concrete lining. In 1956, first competition was held for the T-Centralen
and the station project was a big success. Art as an architectural concept became rooted in Stockholm metro and
continued to flourish in the rest of the stations as they were built. T-Centralen designed by Per Ultved with
cavernous spaces, painted in blue and white and criss-crossed with bright leaf motifs, still contains more works of
art and sculptures than any other station on the network (Fig. 3.9 ).
Many stations, particularly built in 1975 on the Blue Line, have been left as rock cavern, which gives them an
outstanding, unique atmosphere (Fig. 3.10). Stations built deep underground, have impressive large escalators also
adorned with works of art (Fig. 3.11). Except of artworks, also some stations are connected to local themes. For
example, the Radmangsgatan Station has larger than life-size portrait of the writer August Strinberg, because the
station is close to his last home known as the Blue Tower, which is now museum.
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Fig.3.9 Centralen Station, Stockholm
Fig.3.10 Kungstragarden Station, Stockholm
Brussels metro (Métro de Bruxelles, Brusselse metro), is a rapid transit system serving in the Greater Brussels area.
It started as an underground tramway. They were initially opened in 1969 (Line 1) and in 1970 (Line 29 and in
1976 were converted into a metro lines. Today metro has 7 lines and well earned reputation for encouraging art at
the stations. In 1990, the Minister for Public Works set up an independent art commission that is responsible for
recommending and approving art to the transit facilities and sites at the Grater Brussels area. First works include a
fresco “Our time” by Roger Somville, which evokes a struggle for a socially and economically fairer society.
Depicted images are large than-life people, provocative and disturbing. Works of contemporary art include fresco
on the walls, sculptures and art installations. At the Roi Baudouin Station, there is an art of more recent times –
installation of “Flight of ducks”, with 31 metal ducks, each with 1.5 m wing span, are suspended from the platform
ceiling. Art of recent times is more soothing. At the Tomberg Station, artists Guy Rombouts and Monica Droste
have created abstract lettering on the wall of a beautiful blue tiles, which are more restrain and less startling. At the
Comte de Flandres Station there is an art installation with flying figures by Paul van Hoeydonck (Fig. 3.12). At
some station, architecture has been also transformed into art. At Alma Station, architect Lucien Kroll transformed
supporting columns of the platform to imitate a petrified forest in the monochrome grey. At other stations,
advertisements are displayed arranged harmoniously like the works of art.
Fig.3.11 Kungstragarden Station, Stockholm
Fig.3.12 Comte de Flandre/Graaf van Vlaanderen Station, Brussels
Praga Metro, which first opened in 1974, has 4 lines: A, B, C and D. Stations on Line A have characteristic
dazzling metal panels in various colors. According to Bennet (2004), the reference here might be to abstract art, for
example to the kinetic art of Victor Vasarely, the mobile sculptures of Alexander Calder, the moiré lines of Bridget
Riley or the rhythmic squares of Josef Albers. The reference to optical art of the 1970s seems clear, as well as to
high-tech architecture of machine-made design. The light falling on patterns make them sometimes appear to float.
The person responsible for design and architecture is Otruba from Design Office of the Transportation Board but
there were many architects and designers involved. As a part of design philosophy, the stations of Line A have their
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ceilings clad in the same pale bronze panels throughout, while the curving walls down the sides are set in different
colors to distinguish one station from another. The dimpled and flat panels are made from pressed aluminum
sheeting with colors enameled on. The wall colors graduates in shades as it reaches platform level. What
distinguishes Prague Metro from other is development of a unifying architectural style that is distinctive and
timeless in conception, yet simple and cost-effective in its execution. Hradcanska Station (Fig.3.13) on Line A with
its mesmerizing panels, created with limited budget shows how great architecture can transform the mundane into
the sublime.
Fig. 3.13 Hradcanska Station, 1978, Prague Metro, Line A
Fig.3.14 Gare Lille Europe Station, 1994, Lille Metro, Line 2
Lille Metro (Métro de Lille) is a new VAL driverless metro that was first inaugurated in 1983 and currently
consists of two lines. Many stations are elevated and they are remarkable buildings. Regarding art, many works of
art can be found in Lille's system, including sculptures and murals. For example, at the platform level of Gare Lille
Europe Station (Fig. 3.14) are huge colorful murals. The fresco regaining the whole height and the width of the
wall represents the marvels of the world: one can recognize the cities of Berlin, London and Brussels on the North
wall, the cities of Paris, Rome and Athênes on the East wall, and Toulouse, Barcelona and New York on the South
wall. The station designed by Jeana Pattou has been conceived spacious and full of light.
Art has been also applied at Japanese stations – e.g. wall sculptures at Tokyo Metro lines, TMG Ōedo Line, and
Minato Mirai Line.
Tokyo Metro has been active in implementation of art at the stations. At Kinshichō Station on Hanzōmon Line
(2003; Fig.3.15), murals featuring replica of famous ukiyō-e have been installed in front of automatic gate, and also
at the platforms. Exposition of public art in Japan has been supported by municipality and private organizations –
for example Tokyo Metro received 100% subsidies for public art. The art has been installed at Ginza Station’s
space for entertainment events. TM received also donations from Japanese and American artists for an “art station”
at the Tameike-Sannō on the Ginza Line (1997; Fig. 3.16). At the Tameike-Sannō on the Namboku Line (2000; Fig.
3.17) and other stations on this line, there are artworks on the walls behind the safety doors. At some stations, such
as Kiyosumi-Shirakawa on Hanzōmon Line, art has been accommodated into station walls at the platform level. At
the Fukutoshin Line (2008), artworks have been installed as decoration at the crucial places at the stations. They are
mostly murals and stained glass works, for example: “Umi-karano-kaori” by artist Eibin Otsu at the Shibuya
Station, ”Hop, Step, Hop, Step” by artist Yoko Yamamoto at Shinjuku San-chōme Station (Fig. 3.18), and
“Itsuka-wa-aeru” by artist Gyoji Nomiyama at the Meiji Jingūmae Station.
At the Minato Mirai Line (2004) in Yokohama, some art works have been moved underground form historical
buildings above and some new ones have been designed for the stations. At the Bashamichi Station on the Minato
Mirai Line (2004; Fig. 3.19), artistic mural by Junpei Nakamura from old building of the Bank of Yokohama has
been exposed as a one of the works of art. Contemporary art, such as “Gold and Silver Waves” – an artwork by
Kiichi Sumikawa has been displayed at the central part of the concourse wall (Fig. 3.20).
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Fig.3.15 Kinshichō Station, 2003, Tokyo Metro
Fig.3.17 Tameike-Sannō, 2000, Tokyo Metro
Fig.3.16 Tameike--Sannō Station, 1997, Tokyo Metro
Fig.3.18 Shinjuku San-chōme Station, 2008, artwork by Yoko Yamamoto
Regarding the Ōedo Line (2000) in Tokyo, its characteristic feature is that art forms, art installations and art walls
have been installed at the concourses at each station, for example: at the Tochōmae Station, Shinjuku-Nishiguchi
- “Crystal Stream”, Higashi-Shinjuku - “Tomorrow for You”, Ushigome-Yanagichō - “Yanagichō Graffiti”,
Ushigome-Kagurazaka - “Sand Play 005”, Kasuga - “Sizzling Lives”, Shin-Okachimachi - “The Metamorphosis of
Edo”, Ryōgoku art wall ”Around the Dohyō” and a sculpture “King of Sumō”, Kiyosumi-Shirakawa an
exposition ”Technoetic Trees”, and at the Kachidoki - “Living Sea”. Some stations have been even awarded with
“Good design award”: Ushigome-Kagurazaka Station, Iidabashi Station (arch. Makoto Sei Watanabe, 2000; Fig.
3.21), Ryōgoku Station (Fig. 3.22) and Kiyosumi-Shirakawa Station.
Fig.3.19 Bashamichi Station, 2004, Yokohama, Minato Mirai Line
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Fig.3.20 Bashamichi Station, 2004, Yokohama
Fig.3.21 Iidabashi Station, 2000, Tokyo, Ōedo Line
Fig.3.22 Ryōgoku Station, 2000, Tokyo, Ōedo Line
4. Conclusions
Last thirty years in subways stations history has been very fruitful. Firstly, many good stations have been designed
in consideration of their architecture, and secondly, arts and crafts have been widely included into design. Such
approach has reflected a grown up consciousness of rail companies about the importance of corporate design.
When station architecture is good, is not only aesthetically pleasing but also makes the station functional and easy
to understand. Art can be also conceived as a decoration, giving the station some intellectual context. Art being a
part of architecture - can be the source of meaningful form. When the art and architecture are unified in the design,
the effect can be overwhelming, like in the case of subways in Stockholm or Munich. The examples of the Japanese
and European stations show, the best effects are when the art and architecture are completely unified in one holistic
design. Architecture and art are part of underground culture, which is also expressed by tickets design, poster art,
graffiti, decorated trains, escalators, and maps. Architecture and art together contribute to aesthetics of subway
stations, which is a basic requirement that transportation infrastructure needs to fulfill.
References
Allen, H. (2001) Design and culture, Public Transport International Magazine, No. 4. Union Internationale des
Transports Publics (UITP), UITP Publications, Brussels.
Bennett, D. (2004) Metro: the Story of the underground railway, Octopus.
Kaminagai, Y. (2001) Design in favor of sensivity, RATP Savoir-Faire, No.37, 28-33.
Kido, E. (2011) Nihon to Yoroppa ni okeru chikatetsu eki dezain hikaku to dōko (Comparison and trends in
subway station design in Japan and Europe), JREA, Vol.54, No.11, 36420-36425.
Wolmar, Ch. (2005) The subterranean railway: how the London Underground was built and how it changes
the city forever, Atlantic Books.
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