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Hala peronowa i jej rola użytkowa i kulturowa (po I wojnie światowej)

Wesołowski J.

Kwartalnik Architektury i Urbanistyki

2002

T. 47, z. 2

97-125

Hala peronowa uchodzi za symbol wielkiego dworca kolejowego końca XIX w. Nie była ona jednak tak powszechna, jak można by się spodziewać. Najpopularniejsza była w Europie Zachodniej (nie tylko w krajach przodującej techniki i gospodarki) - w Europie Wschodniej natomiast była rzadkością. Można domniemywać, że o budowie hal bardziej niż względy użytkowe decydowały lokalnie dominujące wzorce dworców. Powody, dla których budowano hale, zmieniały się z czasem. Później jeszcze przestano je budować, a większość istniejących rozebrano. Mimo to hala nie jest tylko reliktem przeszłości, ale zaczyna być ponownie stosowana we współczesnym kolejnictwie. Można przypuszczać, że fakt ten wiąże się z renesansem kolei jako środka lokomocji związanego z polityką ekorozwoju.

The train shed is regarded as a symbol of the large train station from the end of the nineteenth century. Nevertheless, it was not as universal as might be anticipated, and was most popular in Western Europe (not only in the technologically and economically leading countries), and a rarity in Eastern Europe. Presumably, the construction of a train shed was determined by dominating local models of railway stations rather than by utilitarian reasons. The train shed does not have to be a separate building, and its roof may be supported by the walls of the railway station or its own bearings. The further to the west the greater the popularity of the train sheds. Their number in the British Isles totalled several hundred (ca. 540?), built in almost every junction and terminus. Outside Europe numerous train sheds could be encountered in the U.S.A. and Canada. Several halls were raised in better developed colonies, especially India and Australia, where railway construction was the domain of British engineers . The original function fulfilled by the sheds was the protection of carriages and locomotives (hence probably the origin of "depot" - the American term for the railway station). It was expected that the impressive appearance of the stations would enhance the prestige of the rail society or the state to which they belonged. The sign of an exciting new phenomenon in urban life was the railway station with its cast iron roofings, the frequent object of fascination for artists. The hall of the Parisian St. Lazare is, alongside the steam locomotives, the hero of paintings by Monet, while the roofs of Paddington Station in London comprise the decoration for the genre scene depicted in the canvas by W. P. Frith, celebrated in Great Britain. As a rule, the train sheds of the past are considered in categories of the history of construction. It is impossible to negate the fact that they played a considerable role in the evolution of large-scale roofs. At the same time, however, they may be treated as elements of the architectural programme of the more important train stations, which in certain countries was almost obligatory, and elsewhere applied rather frequently. From the British perspectives the train shed remained predominantly a quantitative phenomenon. The number of German, French and Spanish halls was much smaller, but the percentage of distinctive buildings was greater.