Union Station (Los Angeles) - Architecture

Architecture

Union Station was partially designed by John Parkinson and Donald B. Parkinson (the Parkinsons) who had also designed Los Angeles City Hall and other landmark Los Angeles buildings. They were assisted by a group of supporting architects, including Jan van der Linden. The structure combines Dutch Colonial Revival architecture (the suggestion of the Dutch-born Jan von der Linden), Mission Revival, and Streamline Moderne style, with architectural details such as eight-pointed stars.

Enclosed garden patios are on either side of the waiting room, and passengers exiting the trains were originally directed through the southern garden. The lower part of the interior walls is covered in travertine marble, and the upper part is covered with an early form of acoustical tile. The floor in the large rooms is terra cotta tile with a central strip of inlaid marble (including travertine, somewhat unusual in floors since it is soft).

Attached to the main building to the south is the station restaurant (the last of the "Harvey House" restaurants to be constructed as a part of a passenger terminal) designed by southwestern architect Mary Colter. Although now usually padlocked and stripped of many interior furnishings, the topology of its rounded central counter, streamlined booths, and inlaid floor patterns remain.

Even with its grand scale it is considered small in comparison to other union stations.

Read more about this topic:  Union Station (Los Angeles)

Famous quotes containing the word architecture:

    I don’t think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
    Roy Lichtenstein (b. 1923)

    Poetry is not only dream and vision; it is the skeleton architecture of our lives. It lays the foundations for a future of change, a bridge across our fears of what has never been before.
    Audre Lorde (1934–1992)

    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)