Architecture of The Entrance Building
The station represents the traditionalist architecture of Pützer, as was typical for railway buildings at the time. The design elements on the facade and the interior are reminiscent of the then fashionable Art Nouveau style.
The station building was renovated from 1998 to 2002, requiring intensive conservation. The 94 metres long and 34 metres wide platform area has ten platform tracks and was renewed in 2005–2008 for approximately € 31 million. Lifts were installed on the passenger overpass over the platforms to connect with the platforms below, supplementing the stairs, so that the station was accessible for the handicapped for the first time. The elevated platform overpass was extended to accommodate a shopping centre in 2000 with finance from the city of Darmstadt; this also allows access to the district to the west, which is the location of the seat of the European Space Operations Centre, among other things.
A special feature is the so-called Fürstenbahnhof (“princely station”) in the south of the station building, which has since developed into a facility for public transport. It had the usual waiting rooms for this purpose, sanitary facilities, a spacious driveway and its own entrance to platform 1, the princely platform. Its solid wall with numerous Art Nouveau features is largely preserved. The former Bahnpolizei (railway police) were located here before the last renovation of the entrance building. In mid-2010, the Fürstenbahnhof restaurant was opened to the public in the princely station.
In 1972, the former twelve signal boxes were replaced by a modern signal control centre.
Read more about this topic: Darmstadt Central Station
Famous quotes containing the words architecture of the, architecture, entrance and/or building:
“In short, the building becomes a theatrical demonstration of its functional ideal. In this romanticism, High-Tech architecture is, of course, no different in spirit—if totally different in form—from all the romantic architecture of the past.”
—Dan Cruickshank (b. 1949)
“The two elements the traveler first captures in the big city are extrahuman architecture and furious rhythm. Geometry and anguish. At first glance, the rhythm may be confused with gaiety, but when you look more closely at the mechanism of social life and the painful slavery of both men and machines, you see that it is nothing but a kind of typical, empty anguish that makes even crime and gangs forgivable means of escape.”
—Federico García Lorca (1898–1936)
“Reporters for tabloid newspapers beat a path to the park entrance each summer when the national convention of nudists is held, but the cult’s requirement that visitors disrobe is an obstacle to complete coverage of nudist news. Local residents interested in the nudist movement but as yet unwilling to affiliate make observations from rowboats in Great Egg Harbor River.”
—For the State of New Jersey, U.S. public relief program (1935-1943)
“We have our little theory on all human and divine things. Poetry, the workings of genius itself, which, in all times, with one or another meaning, has been called Inspiration, and held to be mysterious and inscrutable, is no longer without its scientific exposition. The building of the lofty rhyme is like any other masonry or bricklaying: we have theories of its rise, height, decline and fall—which latter, it would seem, is now near, among all people.”
—Thomas Carlyle (1795–1881)