McAslans Grand Central Station provides gateway into Belfast
There is something stirring about arriving in a place blurry with motion, where steel and glass are conduits for flows of people and energy. September 2024 saw the opening of the new Belfast Grand Central Station, which has taken shape as a symbol of a city on the rise and represents a new era of public transport in one of Europes most car-congested regions. With eight rail platforms, 26 bus stands and over 200 parking spots for bicycles, it replaces Great Victoria Street Station on a site dating back to 1839 that encountered various updates before replacement by the Europa Bus Centre in 1995. Designed byJohn McAslan + Partners in collaboration withArupandJunofor Translink, the 7,500m2 station offers the city a gateway that was missing before. AdvertisementWith its material palette of structural steel, concrete stairwells and timber finishes, it makes subtle nods to the citys industrial past while representing its future. People seem dwarfed against the magnitude of its form, yet there is a gentle intention here, with space for passenger traffic to grow from the current 20 million annual passenger journeys. There is a subtlety in how the L-shaped plan reveals itself generous but not grandiose with large steel truss spans working hard to afford the simplicity of a minimal number of columns for passengers to negotiate. Movement through the station is guided by ribboned signage that is clear but unobtrusive, while outside a light-washed entrance soffit illuminates the public area at night.It serves its visitors without demanding attention, a rare achievement in an age when new architecture often makes statements before it makes sense. Small alcoves offer space for phone calls or reading the news, and there are spots on the mezzanine to pause for coffee or to share a drink with friends. It is a novel concept for Belfast, this idea that a space for transit could also be one for dwelling.Often, transport schemes focus on function over experience, but here the two coexist. An unexpected visitor in the form of Janu the Vanishing Elephant appeared as part of Belfast International Arts Festival, momentarily transforming the arrival hall into a stage, hinting at how cultural life might spill over the coming years into these platforms and plazas.Transport, however, is no longer simply about the transition of people but needs to be about environmental and energy transition too; in a time of climate crisis and urban growth, the architecture of mobility hubs must be efficient, resilient and sustainable. The design here takes an holistic approach to environmental performance, incorporating circular strategies into its language without feeling preachy. Passive ventilation and careful site orientation work together to mitigate travel emissions and reduce heat gain, while actuated louvres have been placed to maintain optimal interior comfort. The expressive sawtooth roof inspired by folds of linen in an echo of the weaving industry that once occupied the site floods the hall with natural light while helping to maximise the efficiency of photovoltaic panels. Locally sourced and fabricated materials have been prioritised to reduce embodied carbon, with the steel superstructure fabricated less than 20 miles away by Walter Watson.As much as these efforts are admirable, even the most energy-efficient edifice still operates within a system that, by its nature, contributes to the problems we face. Intermodal architecture, regardless of its efforts, can only tackle a limited portion of the climate crisis. Should the real conversation not be about the very method of transport itself? Perhaps this is why the design has an emphasis on future-proofing these facilities to support an electrified transit network. For all the green thinking, this building, for now, is a structure that serves traditional rail and bus networks, systems that remain tethered to carbon-intensive practices.It begs the larger question: can the built environment do more to lead on climate change? Architecture as a discipline can often feel like it is playing catch-up, despite its potential for leadership. Perhaps a building such as this acts as a first move towards these tricky transitions, inspiring a cultural shift towards future-thinking. The project has already accelerated the agenda for the Belfast Cycling Network Delivery Plan, for example.AdvertisementPerhaps the stations most remarkable success lies beyond its transport efficiency. It plays a part in reconnecting a city historically marked by division through its thoughtful planning. Stepping outside onto Durham Street, the threshold to Sandy Row, is to be reminded of the complex legacy here, with decades of tensions embedded in geography, resulting in inaccessible areas for half of Northern Irelands population. This design does not shy away from the context but, as an urban move, helps knit together neighbourhoods once fractured along political, religious and social lines.The design of Grand Central Station marks a significant shift for Belfast, being the first major piece of civic infrastructure that does not seem to be preoccupied with the lingering threat of violence. It is a notable departure from past projects, where bomb-resistance was a priority on the risk register. This shift speaks to a broader change towards a post-Troubles mindset, where the architecture finally focuses on enjoying space, rather than securitising it.This is more than a standalone building for transit. It paves the way for Weavers Cross, a new inner-city neighbourhood that connects with the Golden Mile and landmarks such as the Grand Opera House. The planning and design principles document for the 8ha scheme outlines seven key values, focusing on public realm, active frontage, green infrastructure, landmark architecture, public spaces, mixed uses and distinctive character. The plan proposes a Green Link of strategically placed green spaces and the extension of Glengall Street to facilitate east-west pedestrian flow from the hub back to the city centre. Saltwater Square, planned for the premises frontage, will become a gathering place, named for the historically important meeting of saltwater and freshwater under the original stone bridge across the River Blackstaff. By invoking the memory of this, the square, with its potential for hosting markets and public art, sets the stage for a new era of shared, inclusive urban spaces.Concerns raised at the planning application public consultation for this new transport hub highlighted the communitys apprehensions with respect to accessibility, historical preservation and integration with existing services. Many questioned the increased walking distances to the city centre from the new station, with some expressing concerns about the convenience of longer commutes. In response, it was emphasised that the upgraded connecting routes are 30m shorter for arriving at trains, and there will be improved public realm features and sheltered walkways near the station to palliate the additional 75m travel distance for bus stands.The preservation of local history came to the forefront in discussions about the 1930s Boyne Bridge and 1641 Saltwater Bridge. While the Boyne Bridge will be removed, due to engineering limitations, a thorough photographic survey has been promised before demolition. The remnants of Saltwater Bridge will be preserved in situ, recognising its heritage value.This programme shows how careful urban planning can shape not only functional infrastructure but also foster a sense of place, inviting people to experience their city in new ways. Thoughtful design choices point to a vision that balances contemporary needs with delicate social and built heritage.For a city that has long grappled with transportation planning and disconnection, this ambitious masterplan with this station at its heart offers a rare opportunity to address past missteps and redefine the boundaries of Belfasts urban core. Through this project, the city is taking a meaningful step toward a more connected, inclusive and future-focused era.Rebecca Jane McConnell is an architect and research fellow at Queens University BelfastProject dataStart on site July 2014Completion 2024Net internal area 12,895m2Construction cost 200 millionForm of contract NEC4 CArchitect John McAslan + PartnersClient TranslinkExecutive architect John McAslan + PartnersStructural engineer ArupCivil engineer Doran ConsultingM&E consultant DowdProject manager ArcadisPrincipal designer John McAslan + PartnersRail operator Babcock RailFaade consultant GreeneMain contractor Farrans Sacyr JVContractors architect Robinson Patterson Partnership
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