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“The fundamental mistake in airport design, Yuki believes, is that everything is so goddamned white. There is altogether too much light, both natural and artificial. The notion persists for some reason, that, since the passengers are about the head skyward, a sense of space and whiteness is what’s required, to get everyone in the mood. But Yuki considers this to be a grave, grave error. In truth, the airport customer is preparing for a period of confinement, in what is essentially a fast moving tunnel. One’s pre-flight, airport-bound hours are a process of surrender. We grow quiet. We withdraw to ourselves. And no wonder. We are about to pass through a portal. What’s required, Yuki feels, is warm, dark spaces. Something womb-like. Airports should, in fact, be underground.

“Another of Yuki’s bugbears regarding modern-day airports – and one of the first things she will set about remedying once appointed – is having to travel the thirty or forty miles out to where the planes arrive/depart from the city after which the airport is named. Such a ridiculous waste of time. Yuki’s plan is to create a new generation of airports situated directly below the world’s major cities. Once the air traveller arrives at his/her destination and passes through immigration he/she will simply step into an elevator and, moments later, stride out into: the Champs-Élysées, Times Square, Sydney Harbour, or the lobby of whatever hotel they happen to be staying in.

“Sure, this will entail a good deal of digging, but Yuki believes that people are willing to rise to a challenge, particularly one with such evident benefits. She’s equally confident that there already exist large and noisy machine capable of doing the necessary earth-removal. If not, she is prepared to invent such a machine in any spare time she can conjure up between her regular job as a Leading Fashion House Designer and her weekend post creating a new generation of subterranean urban airports. She has already completed two or three rough sketches.

“Most of the Excavation will be spent creating the vast cavern necessary to house the airport. The tunnels/corridors down which the aeroplanes will fly need not necessarily be that wide. Just big enough to accommodate a plane’s typical wingspan, plus an extra metre or two. But oh, yes – quite, quite long. At the point of entry Yuki envisages a sort of slash in the earth, somewhere just beyond the city’s perimeter, As the plane approaches its destination there is bound to be a little nervousness among the passengers. But the people enjoy a tiny bit of nervousness now and again, don’t you think? The captain’s voice will come over the speakers: ‘Ladies and gentleman, we are now approaching London Scar. Please fasten your seat belts, super-tight.’ Then – just imagine – dropping, dropping. Peering out of the little windows to see the ground rising up to meet you. Children standing over their bicycles, open-mouthed. Then suddenly – POW! – the sky is gone, and the whole plane is swallowed up by Planet Earth and all you see are rocks and soil through the windows. And you are flying underground!”

Yuki Chan in Brontë Country, Mick Jackson

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