PROJECT REPORT: TRANSPORT FACILITIES & PUBLIC REALM
transfer easily from one to the other, and one of which is now finished sporting a spectacular cantilevered roof. Internally, aLL wanted to provide an inspiring, refreshing space, and a key part of this was an attempt to get daylight down to the platform level. To this end, the archi- tects designed a sculptural light shaft, which would provide natural light to the platform level on a bright day. Even on a dull day, this highly polished and faceted stainless steel ‘chandelier’ provides a point of interest for users, as shown at the open day held at the station last October, which led Alsop to remark: “People were standing there fasci- nated; you get all these strange reflections going on when you look up.”
This artistic feature enables passengers to have a connection with the sky from the platform, not often achieved in under- ground stations apart from notable exceptions like Fosters’ much bigger Canary Wharf station. Alsop says the question of “why do that, it’ll cost more,” was answered by benefits to the project programme: “it was really useful for taking things in and out of the station during construction.”
As passengers descend escalators to a relatively shallow depth of around 9 metres the central platform is gradually revealed with trains running either side, and angled concrete columns, echoing past Alsop projects. He rejects the idea that this is simply a ‘signature’ approach: “It’s one of the things I’m known for, but there’s usually a good reason for it, it’s not just a gesture.” The concrete has been formed in situ to a very high standard, with the final polished ovoid columns resembling gigantic dinosaur bones. Alsop is full of praise for the concreting, including the faceted walls, saying it’s “fantastic, really beautiful” and notes that the innovative method of pumping the concrete into columns’ formwork from beneath rather than above helped to avoid any bubbles. A further art installation, called LightSpell, is yet to be switched on due to its potential for misuse. Berlin-based Jan and Tim Edler of realities:united designed 40 ceiling light elements (pictured on facing page) which could display text entered by passengers on five terminals. It remains to be seen whether this somewhat brave move on the part of the client will be realised as intended, or in a moderated form. Seating displays further attention to detail in materials, with the white concrete benches having brass handrails to add a touch of luxury compared with a standard station offering. While passengers may not
ADF FEBRUARY 2018
Alsop has applied his customary joie de vivre to two very different buildings
linger long in the entrance – before present- ing their Oyster-style passes in what is a cashless system – Alsop’s generous and light space provides enjoyment even for a short time. He comments: “I think that any station should provide a strong experi- ence, most people are going to work in miserable places.”
The station will serve up to 20,000 passengers every day, plus a car park allow- ing 1,880 users to park and ride, so is hoped to make a big difference to Toronto’s traffic issues. It has the potential to provide an unusually uplifting dimension to commuting in its physical form, without being overly theatrical.
Pioneer Village bus terminal
The completed bus terminal, which runs at 45 degrees from the road, and in line with the subway beneath it, enables passengers to connect easily from bus to train via escalators from the platform. However
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