Madrid: Trains & Planes

Madrid: Trains & Planes

I went out of my way last week to praise Madrid’s excellent metro system. Yet this is only a part of the city’s generally superb transport network. Aside from municipal and intercity buses—of which there are many, even at night—the city has an excellent train network.

Madrid, the political, economic, and geographic center of the country, is naturally the country’s train hub. Many of the long-distance trains run at nearly 200 mph (over 300 km/h). These high-speed trains run north, south, east, and west, to nearly every corner of the country. Indeed, Spain has the most miles of high-speed rail in Europe, and the second in the world after China. They are affectionately referred to as AVE (literally “bird,” but short for Alta Velocidad Española), and they leave from Madrid’s two biggest train stations: Atocha and Chamartín. The trains are extremely convenient and are certainly more comfortable than flying; however, they are often more expensive than a flight.

Atocha Cercanías on a typical day

But no resident of Madrid could long survive without the city’s Cercanías, or short-distance trains. These service the city and the surrounding community, covering 370 km and stopping at 89 stations. There are 10 lines, and each of them stops in Atocha before separating off into a different direction. This is the best way to visit Aranjuez, Alcalá de Henares, and El Escorial—three UNESCO World Heritage sites in the outskirts of Madrid. It is also this network which takes you up into the mountains, to the Guadarrama National Park. For those without a car, it is a lifesaver.

The Cercanías map

The trains are not only useful for tourism, however; they are an essential part of basic city transport. The trains are oftentimes quicker than the metro for certain inter-city trips, such as from Atocha to Chamartín, or Nuevos Ministerios to Príncipe Pío. I rely on the Cercanías every time I need to re-enter bureaucratic hell for my visa, since the office is located down south; and I take the trains whenever I have a flight from the Airport’s Terminal 4. They are, in short, extremely useful—especially because the same transport card works for the trains, the metro, and the bus. For a New Yorker used to paying separately for a monthly rail pass and a monthly subway card, it is extraordinary.

An abandoned station building, near the Méndez Álvaro station

For those who wish to learn more about the country’s railroad history, there is the Museo del Ferrocarril. This is a very reasonably priced museum located near the Delicias Cercanías station. Indeed, the museum is located in the old Delicias station building, which was opened in 1880 to serve as the Madrid hub for the trains to Ciudad Real. It is a typical station building—a huge, cavernous space filled with platforms and tracks. And it is still filled with trains, though all of these are antiques nowadays.

What first caught my attention was a massive steam locomotive. Half of the engine car has been cut away, to reveal the curious arrangement of valves, tubes, and chambers inside. I have been cursed with a rather unmechanical mind, so the enormous intricacy of machinery tends to leave me respectfully silent. However, the basic principle behind steam power is easy to grasp: A fire in one chamber heats the water in an adjacent chamber, which evaporates into steam, which is then channeled down to a piston near the wheels, where a valve lets in the steam at intervals, pushing the wheels forwards. Yet for such a relatively simple process, the mechanical design of the cutaway train seemed extremely complex. The sign revealed that this was one of the latest models of steam-power locomotives, constructed in 1960.

Most of the other steam locomotives on display are much older, and considerably smaller—some dating from the 19th century. To a modern eye, many of these ancient, chimneyed contraptions can seem exceedingly quaint and romantic; they are filled with gritty personality, and remind me of movies of the Wild West and of Old Europe. Still, I am glad we have evolved past these clunking, crawling machines, which had a bad habit of exploding (before the invention of reliable pressure valves). Even so, one must admire such an innovative and durable design. The steam locomotive is a landmark in the history of the Industrial Revolution.

The rest of the trains on display (and there are several dozen) are diesel or electric, and more or less approach the sleek, rocket-like aspect that we associate with trains today. The visitor can enter a few of these to experience an echo of train travel from the past. One of these is an old dining car, apparently made of wood. The tables are set with elegantly folded napkins and fancy silverware. Yet unless the train was going quite slowly on a straight path, it is difficult for me to imagine the dining experience was free of sliding silverware, clanging dishes, and sloshing drinks. Still, it must have felt civilized to glide through the countryside while enjoying an expensive meal.

Though the wide variety of trains are undoubtedly the main attraction—the hulking, slumbering beasts that fill up the space—the museum has much else on display. There is a great deal of railroad infrastructure, such as switchboards (mechanical, hydraulic, and electronic), a central control panel, and a little pushcart which was used for repairs. There is also a room dedicated to train models, hundreds of them, as well as models of certain trajectories. I was particularly gratified to find a model of the route that runs from León to Gijón, through the mountains of Asturias—a beautiful line that I had seen in person.

Henry David Thoreau, the great luddite, famously said: “We do not ride on the railroad; it rides upon us.” What he meant is that the technology we construct to make our lives more convenient ends up dominating us. He was prescient. Nowadays, how many modern luddites speak of our phones the same way that Thoreau spoke of the railroad that ran behind Walden Pond?

Nobody can deny that this occurs. Nevertheless, who would argue nowadays that our lives are dominated by trains? To my eye, they are marvelous inventions: both beautifully designed and eminently functional. They use space and resources efficiently; and the tracks and bridges they ride upon blend in far more harmoniously with the landscape than our cars, asphalt roads, and parking lots. Who knows but that, in one hundred years, visitors with cerebral implants might be visiting a Museum of Smartphones, waxing nostalgic about a simpler time.

Air travel in Europe can be startlingly cheap. And since my job blesses me with ample vacation days (thanks to the Spanish school schedule) I find myself waiting in the airport more than is probably healthy.

Airports are not famous for being comfortable places. The lines are long, the food is overpriced, the atmosphere is completely anonymous. At times airports can be sad places, totally empty of intimacy or human warmth; at other times they can be exciting, the portal to exotic domains; but most often they are simply dreary—filled with tacky commercial trash, listless and sleep-deprived passengers waiting on rows of seats, or nerve-wracking encounters with security personnel or border-control officers.

All of this being said, I think that Madrid’s airport is one that the city can be proud of. Confusingly, its full name is the Adolfo Suárez Madrid-Barajas Airport. Adolfo Suárez was Spain’s first post-Franco president; and it is called Madrid-Barajas because the airport is actually outside the city of Madrid, in the suburbs called Barajas.

In any case, the airport is easily accessible from the city center. A ride in a taxi takes only about fifteen minutes, depending on traffic and your exact destination. I typically avoid this option, however, since the taxis charge a flat rate of €30. Instead, I either rely on the metro or the Cercacías. Metro Line 8 leaves from Nuevos Ministerios and arrives at Terminals 1-2-3 in about 25 minutes. Meanwhile, the Cercanías Line 1 or 10 leaves from Atocha Station and reaches Terminal 4 in about 45 minutes. Both options are covered with my transport card, though people without a transport card will need to buy a special supplement.

Apart from these options, there are also buses. One municipal bus leaves from Avenida de América and requires no additional cost. And a special Airport Bus leaves from either Atocha Station or the Plaza de Cibeles (depending on the time of day), and costs €5 to ride—a good option if you’re going to the airport very early, before the metro or the trains start working. In short, Madrid’s airport is extremely well-connected.

Once you arrive, you have four terminals to choose from. Terminals 1, 2, and 3 were built at around the same time, and are all next to one another. As buildings they are nondescript: functional, clean, and efficient. Terminal 4 was built considerably later, in the early 2000s, and for that reason it is somewhat isolated from the other terminals—2 kilometers distant. It also looks entirely different: support beams jut out at angles and spread leaves the branches of trees, holding up the undulating roof that hangs over the open space. It’s not exactly worthy of Gaudí, but it is an attractive airport.

Photo licensed under CC BY-SA 3.0; taken from Wikimedia Commons

I have had nothing but good experiences at the Madrid Airport. Even so, every time I am there I find myself edge. Despite having flown almost monthly since my arrival in Spain, I still find the process unsettling. I worry about checking in, getting through security, weighing my bags—even though none of this has ever been a problem. Yet more frightening is the simple prospect of flying. Planes may be quite safe, statistically speaking; but I still feel that I am risking my life every time I take a flight. I look out the glass windows at the aerodynamic machines waiting on the runway, and I think of all the things that could go wrong. It just goes my intuition to think that I should get on a box of metal that uses explosions to accelerate into the air.

To combat this persistent fear of flying, I set out to learn more about the history of aviation. Luckily, Madrid has an excellent—and free—aeronautics museum: the Museo del Aire. It is located in the south of Madrid, near the Cercanías stop Cuatro Vientos. To get there you must walk about twenty minutes along the highway from the train station, and then cross a bridge over the tracks. On your left you will see another of Madrid’s airports, the Aeropuerto de Madrid-Cuatro Vientos. Opened in 1911, this is the oldest airport in the country. Originally it was used as a military air base, though nowadays it is mainly used for light civil aircraft and flight classes. As a result, the air surrounding the museum is full of small propeller planes circling around. It is a wholly appropriate setting for an aviation museum.

(This is not the only other airport in Madrid, by the way. There are military air bases in Getafe and in Torrejón de Ardoz, to name just two. I have been told that when foreign leaders come to Spain on state visits they land in these bases, not in Madrid-Barajas.)

The Museo del Aire used to be a part of the old airport. The original brick buildings of the air force base still sit next to rows of hangers. And military aircraft are still present in abundance, though nowadays it is all obsolete and, presumably, out of commission. Still it is an impressive sight. Dozens and dozens of aircraft are on display in the museum—helicopters, fighter jets, bombers, water planes—from every era, stretching back to the beginning of Spanish aviation. I admit that I arrived with low expectations, if only because the museum is free and seldom talked about. But it ended up becoming one of my favorite museum experiences in the city.

No short description could give an adequate summary of the museum’s contents. But here are some highlights. The biggest plane on display—a massive defiance of the law of gravity—was for mid-air refueling. In one corner were about ten helicopters, ranging from bare skeletons of metal encasing a clear plastic bulb to intimidating hunks of metal used for transport and evacuation. Planes specialized for water landings had bodies shaped like boats, with the wings elevated on a little platform. On the far end the fighter jets were on display. Of these the most noteworthy was the F-4 Phantom II, an American fighter that was extensively used during the Vietnam War. I simply cannot imagine what it is like to fly one of those things: it is little more than a pair of wings, a jet engine, and several tons of explosives.

The hangers also had much of interest. The first one contained an extensive and expertly made exhibition on the history of aviation. There are replicas of early flying devices, including the Wright brothers’ Flyer. The museum also has a copy of one of the lesser-known paintings of the Prado. It is a depicting of the ascent of the Montgolfier hot air balloon in Aranjuez, in 1784. This was a major event. The Montgolfier brothers were the Wright brothers of lighter-than-air travel, and pioneered the first piloted hot air balloons.

The museum also has informative panels on the earliest forerunners of air travel. Leonardo da Vinci is mentioned, of course, with his imaginative sketches in his notebooks. But I had not previously heard of Abbas ibn Firnas, a polymath from Moorish Spain who, in the 9th century, attempted flight by covering himself in feathers, holding onto wings, and jumping off a high building—and he lived, at least according to the story.

The rest of the hangers were no less interesting, containing all sorts of flying paraphernalia, from radios to helmets. I was particularly captivated by the many jet engines on display. As I said above, I have a rather unmechanical mind; so I tend to stare in uncomprehending awe at these intricate machines. But more than anything I wanted to see the museum’s many examples of Autogyros.

The autogyro is a rather strange combination of a plane and a helicopter, designed by the Spanish engineer Juan de la Cierva. Like a helicopter, it has a rotating blade on top; but the air moves up through the blade as the vehicle goes forward, causing the blade to generate lift on its own (without power). This seems quite impossible to my untrained physical intuition; but it worked. And Juan de la Cierva (of whom my coworker wrote a biography) is undoubtedly one of Spain’s great engineers.

An autogyro

This concluded my visit to the Museo del Aire. And, surprisingly, I did feel somewhat better about the prospect of air travel. Our species has been trying to invade the air for about 1,000 years. For most of that time we have, admittedly, been highly unsuccessful. But in the last 100 years we have made such great strides that, nowadays, a man can board a plane, fall asleep watching a movie, and then get off on the other side, excited to see some old buildings—the entire engineering miracle of flight hardly registering.

It is curious that in both the Museo del Ferrocarril and the Museo del Aire most of the visitors are young children. They play excitedly among the antique machines, dragging their parents this way and that, pointing and asking questions. Most adults, on the other hand, are bored even by the mention of a museum dedicated to the history of transport. We are so used to efficient transportation that it is invisible and uninteresting to us. And yet if we were to bring Plato or Aristotle back to life, I suspect they would be more amazed at our metros, trains, and planes, than at any of the things they connect us to.

Celebrating Madrid’s Metro

Celebrating Madrid’s Metro

This year marks the 100th birthday of Madrid’s metro system, and the city is celebrating the occasion. Stations are being decorated, special exhibitions mounted, and festive trains displayed. And I think that we all should celebrate the metro—not just in Madrid, but everywhere—for it is one of those rare human inventions which has worked so well that it has become invisible. Though so often overlooked, the metro system of any city serves as both spine and arteries to the urban body: supporting and guiding development while moving the stuff of life from place to place.  Chances are that, if you live in a city, you depend on the metro many times a week: to commute, to see friends, to run errands. Yet we only stop to notice this subterranean network when, for whatever reason, it stops working.

Like so many inventions in our modern world, the metro has been integrated so seamlessly into our lives that it can be difficult to realize what an enormous engineering triumph it represents. Thousands of workers had to tunnel through hundreds of miles of solid earth in order to lay down tracks and build stations; and the resulting network of subterranean passages has to be used every day, all year, without any cave-ins, collapses, explosions, asphyxiations—in short, while being absolutely safe and reliable. As a result of this collaboration of politicians, architects, engineers, designers, construction workers, and too many others to name, I can walk out of my apartment, down a flight of stairs, and then ascend on the other side of a city. For a very reasonable price.

Madrid’s metro is, in my opinion, especially impressive. Opened 56 years after London’s underground, 19 years after Paris’s métro, and 10 years after New York’s subway, Madrid’s metro has grown to become the ninth largest network in the world (and it is the network with the second-most escalators and elevators, only surpassed by Shanghai). The first line stretched a mere three and a half kilometers, traveling at 15 mph between eight stations. Nowadays, the network has 12 lines, 302 stations, and covers almost 300 kilometers. Very few places in the central zone of the city are more than a fifteen minute walk to the nearest metro. I am lucky to live near two of the most useful lines: the original Line 1, which goes through the heart of the city, and the circular Line 6, which makes a giant loop around the outside.

The entire sprawling network

Counting repeat rides, over two million people take the metro every day—well over half the city’s population. Notwithstanding all this, the metro remains clean, timely, and dependable. After four years of living in this city, I can recall very few times when I have been frustrated at the metro service (a constant occurrence in NYC). True, Madrid’s metro does not have a strong personality. It has none of the gritty charm of the New York subway or the endearing retro-ness of London’s tube. The metro is not especially futuristic, quaint, or beautiful. But it works—without screeching and howling, without unpleasant smells, without delays or derailments.

True to form, the metro’s celebrations have also been quiet, efficient, and unobstructive. They have largely consisted of decorating Metro Line 1, the so-called Centennial Line, with antique photos of the metro’s early days—riders in top-hats and trench coats, besmattered workmen excavating the tunnels, old-fashioned entryways amid a cityscape filled with vintage automobiles. One of the more amusing of these is of the King Alfonso XIII inaugurating the metro: the king stands in a pinstripe suit with his hands folded on a cane, a top hat hanging from its end, wearing a bipartite mustache; and surrounding him are dozens of men dressed and groomed identically. Fashion was very strict in those days. Apparently the current King Felipe VI has been so good as to repeat the voyage taken by his great grandfather.

For those who wish to get a deeper sense of the metro’s history provided by the photographs, there are two free museum spaces run by the metro: the Estación de Chamberí and the Nave de Motores.

Chamberí was one of the first stations opened on Line 1. But like the City Hall station on New York’s Line 6, it was eventually closed down because the station’s curve was too sharp to be used with the newer, longer trains. As such, it became something of a time capsule, preserving the appearance of the first generation of train stations. Unlike the City Hall station, Chamberí was never designed to be an architectural showcase; it is simple and functional. Upon entering one passes the antique ticket-collecting booths, and descends to the old platform. Trains on Line 1 still scream past every five minutes or so.

When I arrived a guide was giving a free tour. Apparently, the station has a reputation for being haunted. You see, like many metro stations it was used as a bomb shelter during the Spanish Civil War, and the souls of victims are said to manifest occasionally to frighten visitors. Well, I did not see anything supernatural, but I did see many charming old advertisements—for cafés, hair gels, jewelry shops, and purgative mineral water. Few things are so evocative of the past as an ad for a product that no longer exists. These are the real ghosts.

The other museum is, by chance, right in my neighborhood: the Nave de Motores. This is a cavernous building made to house three giant diesel engines, which used to provide power to the metro system. Just as the contemporary power grid was too feeble for the first generation of trains along the Hudson line, so Madrid’s electricity infrastructure did not support the power necessary to propel the metro. Thus, these engines had to be built especially for the purpose.

The Nave de Motores, in Pacífico

They are gargantuan contraptions, about half the size of a house. For a time this was the most powerful power plant in Spain. I cannot even fathom the noise they would create, much less the amount of fuel they burned. The current produced by these mammoth machines had to be converted by another array of motors before being wired down to the tracks below the station for use by the metro. On a balcony overlooking the engine space there is a control panel, where dozens of little gauges and meters informed the engineers of the state of affairs. (Apparently it is possible to sign up for a hard-hat tour of the tunnels below, but I cannot find the link on the metro’s website.)

This month (May 17 to June 15) there is a special exhibition in the Nave de Motores, and the opening hours have been extended. The massive wheels have been decorated with lights, and informative panels have been put up all around the space. There are antique ticket machines on display, as well as different generations of metro tickets. One can even put on virtual reality goggles and look around a metro stop of the future. Videos of scenes from metro life are projected from the ceiling onto a table, while television monitors play informative mini-documentaries about the network. I was particularly impressed to see the testing and repair center, a huge warehouse where all the equipment is checked and fixed by a team of engineers and mechanics.

There were even a couple models on display, one of the tunnel-boring machine used to chew out the subterranean passages, and one of Sol’s metro station (one of the largest in the network). These miniatures help to give a taste of just how vast is the scale on which the network is built. Whole mountains of material had to be moved to dig out what is, in effect, another city underneath the city above.

The city beneath the city.

Work continues on the metro. Many of the lines have been adapted to allow for cell-phone service, which is much appreciated. Two years ago, Line 1 was closed for a few months for repairs; and Line 2 was recently closed for the same reason. (It has just reopened.) Every night, from 2:00 to 5:30 in the morning, the metro is closed down for repairs. It strikes me as strange that in Madrid, where people go out all night, the metro stops working, while in New York, where most people are home by 2:00, the subway runs all night. Maybe this is why Madrid’s metro runs so much more smoothly; but it is rather irritating on a Friday night.

The network has, for the most part, been entirely updated and transformed from its early years. However, one strange holdover remains. When the system was constructed, Madrid’s roads were like England’s: people drove on the left. Though the road orientation was switched in 1924, the metro kept is left-ward orientation, and so the trains always approach the station from the right as you are facing the train.

Madrid’s metro, like that of any city, serves a vital economic function: many people would not be able to get to their jobs without it. Aside from its economic function, however, the metro also serves as a center for social life. One becomes a native madrileño while riding on the metro: smushed up against bodies, eyeing strangers with anxiety or curiosity, respecting other people’s personal space with navigating the public space of underground transport. It is a place owned by everyone and no one, and so requires special rules to use. Don’t take up more than one seat. Take off your backpack. Give up your seat to the pregnant, the elderly, or the disabled. And don’t be a creep.

One also becomes socialized in more elusive ways. For example, the level of eye-contact considered acceptable on the Madrid metro can be unnerving for an American. Many newcomers to the city report feeling stared at. More than likely, they are just not used to the constant surveillance of Spanish city life—from shop windows, park benches, and balconies—and so misinterpret disinterested glances as either aggressive or suggestive, or both. Adapting to Spanish life means adapting to different standards of proximity and scrutiny. And much of this adaptation happens on the metro.

The metro can be a place of danger. Pickpockets are common, and their roaming hands are apt to relieve the unwary traveler of his wallet. It can also be an aggressive place. The only fight that I ever witnessed in Madrid was on the metro, between a young hothead and a homeless man. But the community quickly intervened, tearing the two kicking combatants apart. And this is the secret to the metro: that the citizens take an active role, however subtle or even invisible, in keeping it a safe place for everyone.

We can also ride the metro to get a taste of culture. In several stations there are miniature libraries, bibliometros (though I’ve never seen anyone actually use them). And apart from the decorations in some of the stations—such as in the stations of Paco de Lucía, Goya, and the Estación del Arte—there is the music. Hardly a station in the entire network is without its performer, singing and dancing in a busy corner, their hat covered in coins. Other musicians ride the metro, going from car to car, playing the pan-flute, singing duets, or rapping over a recorded beat. Admittedly this is not always welcome. Most of the time when I am on the metro I am trying to read. But city life is intrusive, in good ways and bad, and it isn’t for the rider to choose when and which.

Indeed, you might say that the metro represents Madrid in microcosm—both the frustration and the joy. There is the uncomfortable crowding, the long and wearisome commute, and the occasional bad apple. But just as often there is the snippet of overheard conversation, the random acts of kindness, and most of all the quiet assurance that you can get where you need to go.

So I say we should don our caps to the Madrid metro. We are lucky to have a system that is extensive, clean, cheap, and reliable. Take a ride on Line One. Visit the two free metro museums. And, most importantly, don’t be a creep.

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