← Enter River Tunnel

River Tunnel

After Gordon Huether, Salt Lake City International Airport, 2024. An independent procedural interpretation.

Verified dimensions and materials

The artist lists the artwork as 18 feet wide and 907 feet long, built from aluminum tubing, fabric and LEDs. The fabric-covered fins and blue illumination extend above a river-like floor. The airport’s Central Tunnel fact sheet separately gives the tunnel’s length as 1,175 feet and identifies six moving walkways connecting Concourses A and B. These describe different extents: the artwork is not the entire tunnel complex.

Inspected references

Estimated geometry and access

The artwork spans 276.4536 metres, with a 5.4864-metre fin span, following the published dimensions. The model’s 304.8-metre passenger passage, 10.36-metre overall width, 4.85-metre ceiling and short end lobbies are estimates. It does not reproduce the entire 358-metre Central Tunnel complex. Its 430 fins and their wave profiles are an interpretation, not a verified fabrication count or engineering model.

The six belts are arranged in three pairs, with estimated positions, lengths and a simulated speed of 0.65 metres per second. Visitors can walk the full central aisle, enter each belt at an end and leave at the other end. Railings and walls block passage. Closed end-lobby doors bound this reconstruction; concourses, baggage systems and future train space are not modelled. Signs, service doors, wall panels and hardware are simplified visual approximations. The complete real visitor route was not confirmed, and this is not an airport navigation guide.

Lighting, motion and media

Original procedural geometry and shaders provide fabric shading, blue wall wash, terrazzo detail and planar floor reflections. This is an artistic lighting approximation rather than a photometric simulation. The motion control stops belt movement; reduced-motion preferences disable it initially. Five viewpoint shortcuts allow exploration of the long passage.

No reference photographs, film frames or commercial recordings are bundled. The artist documents a curated sound programme and speakers; this simulation includes speaker fittings but does not reproduce the music. All rendered materials and the gallery thumbnail are generated from this model.