in connection to the main entrance. The main entrance had to face the Kaivokatu street. The other entrances were at the end of the perpendicular platform at the end of the tracks at the Rautatientori square and at the western end of the station. The tracks were required to be covered with a roof made of steel, with a cut of it provided as an attachment to the contest. The design contest was judged by architects Sebastian Gripenberg, Hugo Lindberg and Gustaf Nyström, as well as the main director of the railway administration, August Granfelt. The contest was held a couple of years after the design contest of the National Museum of Finland, and it attracted a great deal of attention and interest. The new construction art of the National Museum was seen as romantic, picturesque and as nationally Finnish as possible. This very Finnish design style caused a lot of discussion, and there was desire to try it on the railway station too, without thinking whether the museum and the station would have required different symbolic forms. The contest received 21 entries. All entries except that by Sigurd Frosterus were of a national romantic style. They had heavy roofs and low walls, the doors and windows were small, and there were lots of towers. All of the entries had an arched window on the main facade at the central hall. All entries featured a tall tower, which the floor plan did not require, but did allow. Sigurd Frosterus's facade design Eureka was an Art Nouveau building very different from the other entries, and the judges disliked his entry. The contest was won by Eliel Saarinen's entry Bevingadt hjul på en jordglob – Maapallolla seisova siipipyörä ("A winged wheel standing on a globe"), with a pure national romanticist design, with sturdy walls, eight bears, one tall sharp-pointed tower and numerous smaller towers, as well as a beautifully drawn stone portal to the main platform. Its appearance bore a close resemblance to the facade of the National Museum, which did not please all of the architects. Architects Sigurd Frosterus and Gustaf Strengell thought Saarinen's entry was old-fashioned and demanded sense and rationality to the architecture of the railway station. According to them, the station symbolised modern times, which had nothing to do with the medieval design fashion. The design sparked off a vigorous debate about the architecture of major public buildings,