Enter the Metro

By Sarah Wilson

A small study of underground train entrances in Vienna and Paris

        Travelling around metropolitan Europe usually means a lot of time spent underground, for both locals and visitors. For such an important part of Europe’s infrastructure, it’s a shame to see so many entrances to the metro lines muted and pushed to the side. In cities like Vienna and Paris, however this is not always the case. These cities’ planners recognized the impact of underground railways on everyday European life, and sought to celebrate them via their street entrances. With the designing help of architects Otto Wagner in Vienna and Hector Guimard in Paris, this endeavor was made possible, even elevating some entrances to infamy.

         In terms of basic form, Wagner’s Karlsplatz Stadtbahn station entrance, Guimard’s entrance at Porte Dauphine, and this third Parisian entrance not by Guimard (commonly dubbed the ‘Whimsical’ entrance) are all similar. Each is constructed in terms of an arched covering on vertical walls or stilts positioned directly over a set of stairs leading underground to the train station. All clearly visible above the ground, these entrances are located alongside roads lined with pedestrian sidewalks, making them easily accessible, as is necessary for public transportation. Each also marks the point of change of movement from horizontal movement to descending movement.  The effect of these entrances is open and inviting, encouraging entry via the arcs overhead that in some way reach forward, extending over the sidewalk like an inviting embrace.

         What makes the Parisian entrances unique to the Karlsplatz entrance is largely the appearance of their respective weights. As a group, Guimard’s entrances –of which I saw three—are lightweight constructions that loop, arc, and float over the pavement, using varying amounts of green-painted ironwork and glass glazing. In particular, the entrance at Porte Dauphine appears as series of wings resting atop a glass and iron frame. One of these wings fans over the entrance with feathers of misted glass. Other than the dark green painted ironwork, there is little color to this entrance, but minimal color use for this entrance is more appropriate for its tree-dotted site.

        

 The ‘Whimsical’ entrance is much more colorful than the other two, appearing like a collection of large colored beads strung onto an arcing wired frame. Though this entrance does not have an element that physically reaches out, it retains that welcoming gesture with its extensive use of bright colored glass that can refract sunlight and cast splotches of colored light onto its surroundings. The lightweight metal frame loops up, down, and around like the path of a bouncing ball. Even the metal fence that frames the back and sides of the staircase is composed of thousands of small hollow circles, resembling a shiny foam of bubbles floating above the surface, only adding to the light and fanciful character of this entrance.

        

Wagner’s Karlsplatz Stadtbahn entrance’s greatest difference to these Parisian entrances is its materiality and, therefore, its appearance of weight. Though it does not seem particularly heavy on its own, its concrete walls add more mass to it than the Porte Dauphine’s thin ironwork. It does, however, benefit from the large window below the center of its arced roofline. Interestingly enough, most of the ornamentation of form occurs on the side facing away from the opening to the staircase, facing instead towards its sister building and creating a small plaza in between. Throughout the entire entrance building, however, there is a great deal of metal and painted ornamentation, largely in the form of golden leaves and flowers. It also reflects the thin green metal work seen in the Porte Dauphine entrance, as well as the arc that reaches out over pavement. Despite its greater volume, the Karlsplatz Stadtbahn entrance shares with the Parisian entrances the welcoming character and even some of the cheerful and whimsical character.