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Heritage classified

Key figures

Origin and history

The Dinan station, located in the Côtes-d'Armor department in Brittany, is a railway building built in the 2nd quarter of the 20th century, more precisely in 1931. It replaces a first station put into service in 1879 by the Western Railway Company, on the line from Lison to Lamballe. The current building, designed by architect Georges-Robert Lefort, is part of a renovation program led by Raoul Dautry, the then head of the state's railways. Its architecture combines Art Deco and regionalism, with interior decorations signed by renowned artists, such as the mosaics of the Odorico workshop and the murals of Charles Lesacq.

Inside, the lobby houses two historic mosaics: one representing the map of the regional railways, the other a map of the city of Dinan. These works, as well as the building, have been listed as historical monuments since 1995. The station also played a central role in the local network, serving as a terminus for the La Brohinière line and as a starting point for the line towards Dinard, which is now missing. Since 1991, part of the premises has hosted a railway museum, run by a local association, which traces Breton railway history through models, posters and antiques.

On the railway level, the Dinan railway station, located at 76 metres above sea level, remains an active node of the TER Bretagne network, with connections to Dol-de-Bretagne and Saint-Brieuc. Until 1986, it was served by a direct express train from Paris, which has since been abolished. The site thus combines historical heritage and modern functionality, while integrating intermodal services (urban buses, regional buses) and parking. His appearance at the cinema, in L'Heur 0 (2007), also testifies to his cultural anchor.

The architecture of the station is distinguished by its central body housing a large hall, flanked by two low wings completed by pavilions. One once housed the buffet, the other is now dedicated to the museum. This combination of industrial functionality and decorative art makes it a remarkable example of the 1930s stations, where aesthetics was also used to enhance technical progress and public service.

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