Montesanto Station in Naples

In revamping Montesanto station in Naples, Silvio D’Ascia has used numerous strategies and tools to ensure the redone building fits seamlessly and functionally into the complex surrounds, the local transport system and even the broader Naples transport infrastructure. In the late 19th-century, urban expansion was moving rapidly up the hill, as people sought pleasant sites, views of the bay and new accommodation. In response, an enlightened decision was made to build the Chiaia and then Montesanto (1889) funicular railway lines to provide rapid and easy access to Vomero hill from the city centre. The station was upgraded at various times during the 20th century and the latest effort ensures none of this historical dimension is lost, while prioritising the rail and funicular connections of this part of the Naples transport network. Although different companies run the varying modes of transport that meet here, Montesanto is a truly linked transport hub, bringing together a commuter train line, an underground line (no. 2) and the funicular itself. The station is also important for culture and tourism, providing access to key areas, like the medieval fortress of Castel Sant’Elmo, Certosa di San Martino (a charterhouse dedicated to St Martin) and various archaeological sites. In such a paradigm, the historical architecture of certain buildings is a fundamental starting point. The restoration work has used the old idea that stations should be a stately part of the urban fabric. This is conveyed through the two painted tower-like structures with tuff moulding, cornices and square pilasters that mark the entrance arcade. Similarly, the viewing platform above the entrance is a typical example of art nouveau cast-iron work, with embellished arches and load-bearing columns. While such historical parts were restored, where changes or additions were needed in response to technical improvements, a far freer approach was adopted. The new structures help link all parts of the station, forming a large, single space where the roof soars high above and that offers passengers ease of access. The roof on the main hall draws from the art nouveau viewing platform, using a combination of steel and glass for the hall and the vertical connections. Here, a truss-and-beam structure covers the three transversal aisles running parallel to the historical roof terrace. The platform area also has a roof characterised by about 1,000 m2 of steel and glass. Natural light comes in from above and the sides, but is also supplemented by hanging lights that, in combination, give the entire station its light, ethereal sense. The revamping work also focused on the various facilities that make the station more welcoming, such as waiting spaces and eating areas. The "bridge" over the platforms has been turned into a space ready to cater for relatively lengthy waits, allowing access to the roof terrace on the north tower, on the funicular side. Among other aspects, this terrace is a spectacular vantage point for viewing the old heart of Naples. The entrance hall is not only open to the piazza, but also acts as both the departure point for the stairs and escalators to the platforms and a shopping area that is suitably sized given the dimensions and use of the station. On the southern side of the building, the Paradiso steps are serviced by six pairs of escalators that provide easy access to the monumental Santissima Trinità delle Monache abbey. On the other side, the mechanics of the funicular system have also been given an urban makeover with the addition of a facade that lets in light and air, but is protected by a brise soleil of glass panes that reflect the outside urban world while also following, in a combination of transparency and light, the rise of the funicular.
Francesco Pagliari