The Railway Hotel • Convenience and Luxury

grand-hotel-des-wagon-lits-1930s-luggage-label-jpgThere was an interesting TV documentary about the history of luxury hotels broadcast this week. You can watch it on Box of Broadcasts or catch up on the BBC iplayer. Here’s the link to the programme

http://www.bbc.co.uk/programmes/b0126vfd

I’ve written about restaurants, seaside resorts, mountain holidays, and department stores, so I was a bit surprised to realise that I hadn’t written anything about hotels…well here goes

The 19C expansion of the railway network supported an enormous growth in number of people travelling. Indeed, it is fair to say that each of the major seaside resorts was able to develop and grow because of their close connection to the railway network. In addition to holiday travellers, there were many commercial travellers. All of these people needed rooms to stay in over-night, and it was natural, in these circumstances, for the railways to provide a variety of hotel accomodation.

At a local level, hotels for commercial travellers provided simple accommodation and food. At the seaside resort or by the major rail terminus, a larger and more luxurious form of accommodation was provided including state rooms and suites. The hotel had open areas around the lobby where people could meet and various kinds of simple food could be taken. The grandest hotels also had big restaurants and ballrooms.

One of the things that made the luxury hotel especially interesting (and exciting) was that, unlike the accomodation of the Gentleman’s Club, the hotel was, from the first, open to women. Like the department store, the spaces of the luxury hotel became one where women could participate as equals.

As you might expect, the high-point of the luxury railway hotel was probably the Edwardian era before WW1. The style of the hotels is a 19C baroque called belle-epoque. This style is derived from the decorative style of Versailles, and depends upon sparkle and gilt and mirrors. Marvellous.

You can get a sense of the imporatnce of the railway and the status attaching to travelling when you consider, for example, that the large street frontage of London’s St Pancras was, infact, the Midland Hotel…run by the railway for the benefit of its passengers.

Likewise the Great Western Railway Hotel at paddington and Great Northern at King’s Cross, and the hotels at Victoria and Charing Cross. In London, this already extensive provision pof accommodation was augmented by a number of important and historical hotels: he Ritz (1906), The Savoy (1889), Claridges (1898 with lifts and bathrooms), the Connaught (1897), the Waldorf (1908), the Dorchester (1931), and Browns(1837).

There are many more recent arrivals, and they keep coming!

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The BR Corporate Identity Manual • 2016

xo1sjauacpsuv_lzqjtct6f7ksifwfms_e7emn57rj09vpj5gncqaetvoxxz9fvrmnhyzbawbysgsap7jsizxe_8mrsmuvk_bbpcg1ltweshbfquysx27ix6dcblbd7p8qjrorvhzkjbc3fqxtltmx8a_temwvivpouw0ltsiroan20yc_ywtudhlca6o8wl8dcxmjaqwd2wrsas53ortwircgy-sorx6o79fm74i5l_m_k8661xqig4ddtmcncgg4w865tquravxswxlfb3ggj35lr3rwjswc5_jvfa33teonnuht3f2s8tr5sofpm1mjmi2wxxgvwcybkvanfj_pxqwjvii2wc-p5pnshzoqsspw2vdsapdtgjhv5ozkfnascunf031nmgae8oyuykai_qlta29hk2i-heaebkge-wqg5xbbs_mzgeeytj_kuh6x2gt_4vx0bt5fxj3fwl7aqjeMy copies of Wallace Henning’s re-edition of the BR style manuals from the 1960s have just arrived…they’re lovely. Wallace has produced soemthing that manages to re-visit the 1960s in a contemporary way.

I’m proud to have contributed an essay: Bigger, Faster, Sharper, Clearer…

I posted my text, earlier this year, here

British Rail Design Standardisation

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US Railway Poster • Milwaukee Road • 1939

hiawatha_milwaukee_road_advertisement_1939Lovely, but on reflection not actually from 1939. A more recent looky-likey I think.

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US Luggage label • The Streamliner • 1950s

217af397e3dc2f8a55e8482e3c063897Lovely

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GB Luggage Label • Flying Scotsman • 1930s

lnersmallLovely…

I’ll be looking for these online!

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Halloween Engine • Lewitt Him • 1942

L1090062Here’s a post for halloween…there is quite a body of literature that explores the steam engine and its association with the supernatural. The sound, fire, and fury, of the engine would certainly have terrified anyone unaccustomed to the sights and sound of the railway.

Here is a page from Lewitt-Him’s illustrations for The Little Red Engine (1942), complete with ghost-like whistles from the engine. Perfect!

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The Little Red Engine • Lewit Him • 1942

L1090063L1090065L1090064L1090066Luckily, both Lewitt and Him, (see post below), were able to come to Britain before the advent of WW2…

They became famous, in Britain, for their illustrations to the story by Diana Ross of The Little Red Engine. The first story, The Little Red Engine Gets a Name, was published in 1942. The book was published by Faber and Faber.

Here are some pictures of the illustrations. There is no note about the printing. But, the colour litho is different in quality from the book featured previously. My guess is that these books were printed using plastic-sheet colour separations of photo-mechanical offset litho. Not the same; but lovely nevertheless.

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Locomotive • Lewitt Him • c1936

L1090053L1090055L1090058L1090057L1090054L1090059L1090061L1090060Here are some pictures, by the Polish design duo Jan Lewitt and George Him, for a children’s book from the end of the 1930s. There are Polish and English versions of this book, and later editions with different illustrations.

My copy is in French and published by les Editions des Arts et Metiers Graphiques, Paris.I note that the book was printed in Poland.

I love the soft chalky quality of the colour lithography, and the dynamic illustrations by Lewitt Him. The machine is big, fast, and fun! Also, I love the way that litho printing allows for the break-up of the letterpress grid in favour of an integration of image and text, This expresses itself in a form of typography derived from concrete poetry and Futurism.

There are hundreds of children’s books which feature railway engines…In Britain, we are familiar with The Railway Children and Thomas the Tank Engine especially.

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Brecht on the Railway • The World Defamiliarised

71CLlNA2xYLI’ve just purchased this book…it’s about how, during the 19C, people learnt to be passengers on the railway…this wasn’t without a struggle. Indeed, I could just as easily have purchased a book about how the prospect of railway travel induced a whole series of new illnesses and neuroses!

Of course, these two aspects of the railway journey are linked: the active engagement of the passenger, with the view from the train, is a form of displacement therapy. The therapy is designed to provide a diversion from any thoughts and anxieties associated with the train.

I love the idea that there are a whole lot of learnt cultural associations that can enrich the everyday experience of our lives. I guess that’s what the integration of art and life is all about.

The word, defamiliarisation, comes from the radical theatre of the early 20C…here’s a link to the wiki page about it

http://www.wikiwand.com/en/Defamiliarization

The term was first used by Viktor Shklovsky in 1917. Nowadays, we associate the term with a range of dramatic techniques associated with Bertolt Brecht and avant-garde theatre…

TH_Alienation Effect_Brecht glassesI have already posted about the link between railway travel and Freud, and how looking out of the window is understood as analogous to dreaming…a feeling that is heightened by the sense of being driven by the train, and of being slightly distant, or removed, from the world observed.

Here are my previous posts

Freud on the Train

Freud on the Train

The Interpretations of Trains

The Interpretation of Trains (Freud on the Train, part two)

The Trains of Alfred Hitchcock

The Trains of Alfred Hitchcock

Hitchcock was the first film director to understand the implicit Freudian meanings of the cinema and to incorporate them into his films. He also made a number of films that make significant use of the railway to drive the story…

I found this lovely picture of Bertolt Brecht playing chess with Walter Benjamin from 1934.

Benjamin_and_Brecht-ed6ab48b4d72e286ab50991a46b2db35I also expect that there’s a link between the optical formation of culture as described by Benjamin and the railway…especially in the kino-eye theory of Dziga-Vertov etc.povThis is a scene from Man with a Movie Camera (1929). And here is a self-portrait of Dziga Vertov which includes the integrated machine extension of the film camera…

PoP_Man_with_Movie_CameraWhich will bring us around to Paul Virilio and high-speed disaster…

I love the way that all this art theory and philosophy can be used to amplify the everyday experience of the railway journey…it’s never boring with these travelling companions.

One of the main characteristics associated with the optical experience of railway travelling is the phenomenon of motion parallax…whereby distant objects appear to move more slowly than those close by. Indeed, it’s impossible to see the objects closest to the train clearly.

The parallax produces a powerful sensation of discombobulation, or topsy-turvydom. How Brechtian is that?

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Train Drivers

Virgin have announced that they received 15 000 applications for the 78 train driver jobs on the new East Coast main line…

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