Passenger Terminal World - Passenger Terminal World January 2026
Public art
2025-12-10 13:56:19
Three airports showcase how public art can transform terminals into cultural gateways that speak to local stories and communities
Wellington Airport
Wellington Airport in New Zealand has introduced a new terminal centerpiece: an illuminated suspended sculpture representing the local bird spirit Te Manu Muramura. Spanning 15m above the main concourse, the artwork was created by a team at Wētā Workshop in Miramar. Its fiberglass body, steel armature and translucent polycarbonate features are complemented by internal lighting and a 3D-printed head, meaning the sculpture shifts in color and tone as the natural light changes throughout the day.
The artwork is inspired by the pūrākau (story) of Taniwha Ngake and Whātaitai of Te Whanganui-a-Tara (Wellington Harbour). Longing to explore, Ngake broke free from the harbor but Whātaitai became trapped. As he took his last breath, his spirit ascended into the form of a bird, Te Manu Muramura, and passed through the portal to the universe beyond.
“Wellington Airport has made headlines around the world for our terminal showpieces, and we’re especially proud of this one because it tells a uniquely Wellington and New Zealand story,” said Matt Clarke, Wellington Airport chief executive. “It’s going to provide a totally unique and memorable welcome or farewell for the millions of travelers who pass through every year.”
Pittsburgh International Airport
A signature Alexander Calder mobile has been reinstated in Pittsburgh International Airport’s new landside terminal, returning to a prominent role in the airport’s growing art collection.
The black-and-white kinetic sculpture, known as Pittsburgh, weighs approximately 272kg and extends 8.5m, with elements balanced to move gently with ambient air currents.
Originally installed in the region’s airport terminal in 1959, the mobile later spent time at the Carnegie Museum of Art before appearing in the 1992 Pittsburgh terminal. Ahead of its relocation to the new facility, the artwork underwent conservation and careful reassembly.
The new atrium, with a ceiling over 24m high, has been designed to provide clear sightlines from the arrivals and departure levels.
“People just expect to see the Calder at the airport,” said Keny Marshall, PIT’s manager of arts and culture. “Positioning it in the new atrium ensures travelers can pause, look up and appreciate the artwork in a setting that gives it room to breathe.”
JFK International Airport – New Terminal One
Seven internationally recognized artists have been commissioned to create large-scale, site-specific works for JFK’s New Terminal One (NTO) – a key part of the Port Authority of New York and New Jersey’s US$19bn development of the airport. Opening in phases from 2026, the 242,000m2 terminal will ultimately accommodate up to 23 million passengers a year.
Led by Arup, in collaboration with Pentagram, Culture Corps and multiple creative studios, the program integrates public art, digital installations, film and branding to create a unified cultural identity. Major commissions include Yinka Shonibare’s Kites for Queens, Tomás Saraceno’s suspended Cloud Cities New York, Firelei Báez’s large-scale mural Muzidi Calabi Yau Space, and Kelly Akashi’s sculpture Migration of Flora.
“Public art that is inspiring and evocative of our region is an essential part of the port authority’s strategy to create world-class airports that are becoming destinations in their own right,” said Rick Cotton, the port authority’s executive director.
Airports have long since used public art, bold branding and digital installations to elevate the passenger experience – but these are often treated as separate programs. The vision for the New Terminal One is to elevate this by integrating all these elements into one all-encompassing guest experience.
“Too often, airport experiences feel like they could be anywhere,” said Gideon D’Arcangelo, experience design lead at Arup. “Building on the port authority’s philosophy of creating airports with a true sense of place, we set out to create an experience that could not happen anywhere else, that could only happen in New York.”
READ MORE ABOUT JFK’S NTO ON PAGE 16
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Public art
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